DESCRIPTIVE  CATALOGUE  OF  THE  COLLECTION  OF 
ECCLESIASTICAL  ART  IN  THE  UNITED  STATES 
NATIONAL  MUSEUM 


BY 


I.  M.  CASANOWICZ 


Assistant  Curator,  Division  of  Old  World  Archeology,  United  States  National  Museum 


No.  2287. — From  the  Proceedings  of  the  United  States  National  Museum, 
Vol.  55,  pages  605-649,  Plates  60-97 


Washington 

Government  Printing  Office 

1919 


\ 


DESCRIPTIVE  CATALOGUE  OF  THE  COLLECTION  OF 
ECCLESIASTICAL  ART  IN  THE  UNITED  STATES 
NATIONAL  MUSEUM 


BY 


I.  M.  CASANOWICZ 


Assistant  Curator,  Division  of  Old  World  Archeology,  United  States  National  Museum 


No.  2287.~From  the  Proceedings  of  the  United  States  National  Museum, 
Vo!.  55,  pages  605-649,  Plates  60-97 


Washington 

Government  Printing  Office 

1919 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/descriptivecatal00casa_0 


DESCEIPTIVE  CATALOGUE  OF  TFIE  COLLECTION  OF 
ECCLESIASTICAL  ART  IN  THE  UNITED  STATES  NA- 
TIONAL MUSEUM. 


By  I.  M.  Casanowicz. 

Assistant  Curator,  Division  of  Old  World  Archeology,  United  States  National  Museum. 


INTRODUCTION. 

The  collection  of  Ecclesiastical  Art  forms  part  of  the  section  of  the 
History  of  Religions  which  is  on  exhibition  in  the  old  building  of  the 
National  Museum.  It  comprises  church  furnitures,  as  far  as  they 
are  embellished  by  art,  appurtenances  of  the  public  worship,  and 
objects  used  in  individual  devotions  and  on  special  occasions,  and  is 
obviously  confined  to  the  illustration  of  the  ceremonies  and  usages 
of  the  ritual  branches  of  Christendom — that  is,  the  Roman  Catholic 
and  eastern  churches.  , Of  the  former  the  collection  is  quite  repre- 
sentative, occupying  an  alcove  of  three  cases.  Of  the  eastern  churches 
there  is  a small  collection  of  the  Greek  Orthodox  Church,  mostly  of 
the  Russian  division  of  that  denomination,  and  of  the  Armenian 
Church,  filling  one  case.  Much  material  of  the  collection  remains, 
for  lack  of  exhibition  space,  in  storage. 

The  description  is  accordingly  divided  into — I.  Ecclesiastical  Art 
of  the  Roman  Catholic  Church;  II.  Of  the  Eastern  Church;  and 
III.  Of  the  Armenian  Church. 

I.  ECCLESIASTICAL  ART  OF  THE  ROMAN  CATHOLIC  CHURCH. 

PARAPHERNALIA  OF  THE  CHURCH  SERVICES. 

SERVICE  OF  THE  MASS, 

The  service  of  the  mass  is,  according  to  the  teaching  of  the  Catholic 
Church,  a perpetual  repetition  of  the  sacrifice  of  Christ  on  the  cross. 
The  bread  and  wine  are,  by  the  words  of  consecration  pronounced 
by  the  priest,  changed  into  the  real  body  and  blood  of  Christ  (trans- 
substantiation), and  Christ  thus  offers  himself  each  time  anew 
through  the  priest,  his  representative  on  earth,  and  is  partaken  of 
in  the  communion. 

The  liturgy  of  the  mass  consists  of  extracts  from  the  Scriptures 
and  prayers,  some  of  which  are  always  recited,  while  others  vary 

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according  to  the  season  or  the  purpose  for  which  the  mass  is  offered, 
and  is,  in  the  larger  portion  of  the  Roman  Catholic  Church,  in  the 
Latin  language. 

The  requisites  for  the  celebration  of  mass  are:  An  altar,  of  which 
at  least  the  part  of  the  table  upon  which  the  chalice  and  paten  rest 
during  the  service  must  be  of  stone,  in  which  relics  of  the  martyrs 
are  inclosed  (with  reference  to  Revelation  vi,  9),  and  must  be  con- 
secrated by  a bishop.  The  altar  is  covered  with  three  linen  cloths 
(symbolizing  the  linen  cloths  in  which  Christ’s  body  was  shrouded, 
as  the  altar  represents  his  tomb),  blessed  by  a bishop,  or  by  a priest 
empowered  by  him.  Midway  of  the  altar  and  fixed  to  its  base  is 
the  tabernacle,  a small  chest,  more  or  less  decorated,  which  holds 
the  consecrated  hosts  in  their  repositories,  the  cibory  and  pyx,  for 
the  communion  of  the  laymen  and  for  the  sick,  and  a light  is  always 
kept  burning  in  front  of  it.  Upon  the  altar  is  a crucifix.  Two 
candles  are  lighted  during  a low  mass,  which  is  one  recited  by  the 
priest  without  chant,  and  six  during  a high  mass,  which  is  one 
accompanied  by  music  and  incense  and  attended  by  a deacon  and 
subdeacon. 

The  sacred  vessels  used  in  the  service  of  the  mass  are  the  chalice, 
in  which  the  wine,  mixed  with  water,  is  consecrated,  and  the  paten, 
a small  plate  upon  which  the  host,  in  form  of  a cake  of  unleavened 
wheat  bread,  about  2 inches  in  diameter,  rests  during  a portion  of 
the  mass.  The  appurtenances  of  the  chalice  and  paten  are  the 
corporal,  a square  piece  of  cloth,  upon  which  the  host  and  chalice 
are  placed,  and  which  when  not  in  use  is  held  in  the  burse,  a case 
covered  with  the  same  material  as  the  priest’s  vestments;  the  puri- 
ficator,  a piece  of  linen  used  for  wiping  out  the  chalice;  the  pall,  a 
stiff  piece  of  linen,  about  5 inches  square,  used  to  cover  the  chalice; 
and  the  veil,  a square  piece  of  the  same  material  as  the  priest’s 
vestments,  with  which  the  chalice  is  covered  before  offertory  and 
after  communion. 

Mass  may  be  celebrated  only  in  the  morning,  and  the  celebrant 
must  be  fasting. 

1.  High  altar. — Made  of  wood  and  constructed  in  a combination 
of  Gothic,  Renaissance,  and  Rococo  st}des,  and  probably  dates  from 
the  seventeenth  century.  It  is  adorned  with  two  oil  paintings. 
The  lower  represents  the  assumption  of  Mary  into  heaven.  Mary, 
in  a blue  cloak  with  yellow  borders,  is  ascending  to  heaven  surrounded 
by  fluttering  cherubs,  while  underneath  the  apostles  with  uplifted 
faces  and  raised  hands  are  gazing  after  her.  The  Assumption  of  the 
Virgin  is  the  principal  feast  celebrated  in  her  honor,  and  is  observed 
on  August  15.  The  upper  painting  represents  John  the  Evangelist 
in  a red  cloak  holding  the  chalice  of  the  Lord’s  Supper.  Height,  15 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  607 


feet;  width,  7 feet  3 inches. — Hildesheim, Germany.  (Cat.  No.  207743, 
U.S.N.M.) 

2.  Altar. — ^Made  of  wood  and  adorned  with  an  oil  painting  repre- 
senting the  Holy  Family — that  is,  Joseph,  Mary,  and  the  Infant 
Jesus.  Probably  dating  from  the  seventeenth  century.  Height, 
7 feet  inches;  width,  4 feet  2\  inches. — Hildesheim,  Germany. 
(Plate  60,  Cat.  No.  207744,  U.S.N.M.) 

3.  Altar  cloth. — ^Made  of  linen,  with  lace  borders  and  embroidered 
edges.  Length,  62  inches;  width,  29  inches. — Italy.  (Cat.  No. 
179015,  U.S.N.M.) 

4.  Fragments  of  gilded  carvings  of  an  altar. — Including  six  oval 
panel  paintings,  measuring  each  lOJ  by  8J  inches,  representing  the 
Virgin  Mary,  the  archangel  Gabriel,  and  the  four  Evangelists. — ■ 
Italy.  (Cat.  No.  179013,  U.S.N.M.) 

5.  Bronze  candlestick. — With  a point  on  top  upon  which  to  stick 
the  candle.  Height,  13  inches. — Italy.  (Plate  61,  fig.  1,  Cat.  No. 
152230,  U.S.N.M.) 

6.  Bishofs  candlestick. — Made  of  white  metal.  Used  to  light  the 
bishop  while  reciting  the  prayers  of  thanksgiving  after  mass.  Height, 
2|  inches;  length,  lOJ  inches. — Italy.  (Plate  61,  fig.  2,  Cat.  No. 
179034,  U.S.N.M.) 

7.  Pair  of  candlesticks. — Made  of  wood,  carved  and  gilded.  Height, 
12J  inches. — Spain.  (Plate  61,  fig.  3,  Cat.  No.  178863,  U.S.N.M.) 

8-9.  Altar  lamps. — ^Made  of  white  metal  in  chased  work.  In  front 
of  the  tabernacle  of  the  altar  in  which  a consecrated  host  is  pre- 
served a lamp  filled  with  olive  oil  is  always  kept  burning.  It  is 
usually  suspended  by  a chain  from  the  ceiling  of  the  church  in  front 
of  the  tabernacle. — Italy.  (Plate  62,  figs.  1 and  4,  Cat.  Nos.  179022- 
023,  U.S.N.M.) 

10.  Large  altar  lamp. — Made  of  brass,  hammered  work.  Diameter 
of  bowl,  lOi  inches. — Italy.  (Cat.  No.  179024,  U.S.N.M.) 

11.  Large  altar  lamp. — Made  of  white  metal,  repousse  work. 
Diameter,  12  inches. — Italy.  (Cat.  No.  199026,  U.S.N.M.) 

12-13.  Small  altar  lamps. — Made  of  white  metal. — Italy.  (Cat. 
No.  179023,  U.S.N.M.) 

14.  Altar  lamp. — Made  of  brass. — ^Madrid,  Spain.  (Cat.  No. 
167082,  U.S.N.M.) 

15.  Small  lamp. — Made  of  brass,  with  loops  for  suspension. 
Height,  8f  inches;  diameters,  2|  and  2\  inches. — Italy.  (Cat.  No. 
152235,  U.S.N.M.) 

16-17. — Censers  or  thuribles. — Made  of  white  metal,  openwork. 
The  censer  consists  of  a cup  or  bowl,  which  is  provided  with  a mov- 
able pan  for  holding  ignited  charcoal,  upon  which  the  incense  is  put, 
a lid  or  covering  and  four  chains  about  3 feet  in  length,  three  of 
which  unite  the  bowl  to  a circular  disk,  while  the  fourth  is  used  for 


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VOL.  55. 


raising  the  lid  to  which  one  end  of  it  is  attached,  the  other  passing 
through  a hole  in  the  disk  and  terminating  in  a ring.  Incense  is 
used  at  a solemn  high  mass,  at  vespers,  benediction,  at  the  obsequies 
of  the  dead,  and  at  certain  other  ceremonies  and  blessings.  The 
custom  of  burning  incense  in  religious  ceremonies  is  widespread. 
Besides  the  fragrance,  it  is  a symbol  of  prayer  (see  Psalms  cxli,  2; 
Revelation  v,  8;  viii,  3). — Italy.  (Plate  62,  figs.  2 and  3,  Cat.  Nos. 
152233  and  179022,  U.S.N.M.) 

18.  Censer. — ^Made  of  white  metal. — ^Italy.  (Cat.  No.  179023, 
U.S.N.M.) 

19.  Censer. — Made  of  brass. — Italy.  (Cat.  No.  179023,  U.S.N.M.) 

20.  Censer. — Made  of  brass,  openwork. — Italy.  (Cat.  No.  179025, 
U.S.N.M.) 

21-22.  Incense  boat. — Made  of  white  metal,  repousse  work.  Before 
putting  the  incense  from  the  boat,  or  nave,  into  the  censer,  the  priest 
makes  the  sign  of  the  cross  and  pronounces  a blessing  over  it. — 
Italy.  (Plate  63,  figs.  1 and  4,  Cat.  Nos.  179021-2,  U.S.N.M.) 

23.  Incense  boat. — Made  of  white  metal,  chased  and  repousse  work. 
Height,  4J  inches;  length,  6i  inches. — Italy.  (Cat.  No.  152234, 
U.S.N.M.) 

24-25.  Holy  water  vessel  and  sprinMer. — The  vessel  is  of  white 
metal  with  fluted  sides  in  repousse  work.  The  sprinkler  is  of  brass. 
On  Sunday,  at  the  beginning  of  high  mass,  the  priest  sprinkles  the 
people  with  water,  into  which  salt  has  been  thrown  and  over  which 
various  prayers  and  benedictions  have  been  pronounced,  reciting 
Psalm  li,  9.  The  rite  is  therefore  called  Asperges,  from  the  first  word 
of  the  verse  in  Latin.  It  is  symbolical  of  the  purification  of  the  soul, 
and  it  is  also  believed  to  be  a means  of  grace,  in  virtue  of  the  prayers 
and  blessings  pronounced  over  the  water  by  the  priest.  Height,  5 
inches;  diameters,  5J  and  3 inches. — Italy.  (Plate  63,  figs.  2 and  3, 
Cat.  No.  152228,  U.S.N.M.) 

26-27.  Chalice  and  paten. — ^Made  of  silver,  gilded.  The  chalice  is 
in  Renaissance  style  and  is  adorned  with  floral  designs  in  chased  work. 
The  chalice,  or  at  least  its  cup,  in  which  the  wine  is  consecrated,  and 
the  paten,  upon  which  the  host  is  placed,  must  be  either  of  gold  or 
of  silver  gilded.  They  are  consecrated  with  prayer  and  anointing 
with  the  holy  chrism,  and  after  that  must  not  be  touched  by  a lay- 
man. Height  of  the  chalice,  8J  inches;  diameters,  5J  and  3f  inches; 
diameter  of  the  paten,  61  inches. — Italy.  (Plate  64,  figs.  1 and  3, 
Cat.  Nos.  179016-017,  U.S.N.M.) 

28.  Pair  of  cruets  with  tray. — Made  of  glass.  The  stoppers  of 
the  cruets  are  in  the  form  of  a cross.  Used  for  holding,  respectively, 
the  wine  and  water  for  the  Eucharist. — Montclair,  New  Jersey. 
(Cat.  No.  239069,  U.S.N.M.)  Gift  of  Rev.  Joseph  Mendl. 


^0.22^1.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  609 


29.  Pair  of  cruets  with  tray. — The  same  as  the  preceding  number. — 
Kidgewood,  New  Jersey.  (Cat.  No.  239094,  U.S.N.M.)  Gift  of  Rev. 
P.  T.  Carew. 

30.  Oihory. — Made  of  silver,  gilded,  in  form  of  a chalice,  only  voider 
and  shallower  in  the  cup,  with  a conical  cover,  surmounted  by  a 
cross.  In  the  cibory  are  reserved  the  smaller  hosts  for  the  ordinary 
communicants  and  the  sick.  It  is  kept  covered  with  a silken  veil  in 
the  tabernacle  of  the  altar.  Height,  7 inches;  diameters,  2h  and  2J 
inches. — Italy.  (Plate  65,  fig.  1,  Cat.  No.  152227,  U.S.N.M.) 

31.  Pyx. — Made  of  white  metal  in  the  same  shape  as  the  cibory, 
only  smaller.  Used  for  carrying  the  sacrament  to  the  sick.  Height, 
3§  inches;  diameters.  If  and  1§  inches. — Italy.  (Plate  65,  fig.  4,  Cat. 
No.  179030,  U.S.N.M.) 

32.  Brass  vase. — Made  in  form  of  an  amphora  with  a conical  cover. 
Probably  used  for  holding  the  holy  chrism,  which  is  consecrated  by 
the  bishop  on  Thursday  of  the  Holy  Week  (^ ^Maundy  Thursday^’), 
and  is  used  in  the  rites  of  baptism,  confirmation,  ordination,  and 
coronation;  in  the  consecration  of  churches,  altar  stones,  chalices, 
and  in  blessing  the  baptismal  water.  The  chrism  of  the  Roman 
Catholic  Church  consists  of  a mixture  of  oil  and  balsam.  The  chrism 
of  the  Eastern  Church  contains,  besides  oil  and  balsam,  55  other 
ingredients,  among  which  are  red  wine,  orange  and  rose  water,  mastic, 
various  gums,  nuts,  pepper,  flowers,  and  ginger,  and  certain  chemists 
of  Constantinople  are  officially  appointed  to  prepare  it.^  Height,  8} 
inches;  diameter,  3 inches.— Italy.  (Cat.  No.  179020,  U.S.N.M.) 

33-34.  Silver  cup  and  spoon. — Probably  used  for  handing  out  the 
holy  chrism.  Height  of  the  cup,  3 inches;  diameter,  14  inches. — • 
Seville,  Spain.  (Plate  65,  figs.  5 and  6,  Cat.  No.  167049,  U.S.N.M.) 

ALTAR  LINEN  TEXTILES. 

35-36.  Three  corporals. — Made  of  linen,  with  lace  borders  and  an 
embroidered  cross  in  the  center.  Upon  the  corporal  the  host  and 
chalice  are  placed  during  celebration  of  the  mass.  Dimensions,  11^ 
by  9i  inches  to  17  by  14  inches. — Italy.  (Cat.  No.  179002,  U.S.N.M.) 

37-38.  Two  hurses. — Of  green  silk,  with  cross  and  borders  of  yellow 
silk  and  gold  brocade.  The  burse  is  used  to  hold  the  corporal  when 
not  in  use.  Dimensions,  8j  and  9J  inches  square. — Italy.  (Cat. 
No.  179002,  U.S.N.M.) 

39.  Burse. — Of  yellow  silk  brocade  with  green  border.  Dimen- 
sions, 8 inches  square. — Italy.  (Cat.  No.  179003,  U.S.N.M.) 

40.  Burse. — Of  black  brocade,  with  cross  and  borders  of  v/hite 
brocade.  Dimensions,  8 inches  square. — Italy.  (Cat.  No.  179004, 
U.S.N.M.) 

1 See  Adrian  Fortescue,  Tlie  Eastern  Orthodox  Church,  London,  1916,  p.  425. 

62055— Proc.N.M.vol.55— 19 39 


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PROCEEDINGS  OF  THE  NATIONAL  MVSEUM, 


TOL.  55. 


41.  Pall. — Made  of  linen,  with  a gold  fringe,  embroidered  in  silver 
and  gold,  with  figures  of  chalice,  host,  burning  hearts,  and  the  instru- 
ments of  the  crucifixion.  Used  to  cover  the  chalice.  Dimensions, 
5 inches  square. — Italy.  (Cat.  No.  152232,  U.S.N.M.) 

42.  Pall. — Made  of  linen,  with  lace  fringe  and  red  cross  in  the 
center. — Italy.  (Cat.  No.  179005,  U.S.N.M.) 

43-47.  Five  puricators. — Made  of  linen,  with  lace  borders  and 
embroidered  cross  in  the  center.  Used  for  wiping  out  the  chalice 
after  the  communion.  Dimensions,  5 to  GJ  inches. — Italy.  (Cat. 
No.  179007,  U.S.N.M.) 

48.  Veil. — Of  black  brocade,  with  white  borders  and  white  cross 
in  the  center.  The  veil  is  used  to  cover  the  chalice  before  the  offer- 
tory and  after  the  communion.  Dimensions,  18i  inches  square. — 
Italy.  (Cat.  No.  179004,  U.S.N.M.) 

49.  Veil. — Of  black  brocade,  with  borders  of  yellow  silk.  Dimen- 
sions, 22f  inches  square. — Italy.  (Cat.  No.  179004,  U.S.N.M.) 

50.  Veil. — Of  purple  silk,  with  borders  of  gold  applique  work  and 

a cross  within  a circle  of  the  same  stuff.  Dimensions,  22  inches 
square. — Italy.  (Cat.  No.  179005,  U.S.N.M.) 

51.  Veil. — Of  reticellar  work  in  pale  blue  and  white.  In  the  center, 
UTS,  which  is  the  abbreviation  of  the  Latin  words  Jesus  Tiominum 
Salvator  (Jesus  Saviour  of  Mankind) , within  a circle  of  rays,  while  the 
edges  are  adorned  with  floral  designs.  Dimensions,  24  inches  square. — 
Italy.  (Cat.  No.  179006,  U.S.N.M.) 

52.  Laver. — Made  of  brass,  semicircular  as  to  be  fastened  to  the 
wall,  with  a crane  at  the  bottom.  Before  vesting  for  the  celebration 
of  the  mass  the  celebrant  washes  his  hands  in  the  sacristy  to  typify 
purity  of  heart  and  outer  reverence  for  the  sacred  presence.  During 
the  mass  he  washes  his  hands  after  the  offertory  and  communion 
at  the  altar.  Height,  19  inches;  width,  12 J inches. — Italy.  (Cat. 
No.  179027,  U.S.N.M.) 

VESTMENTS  OF  THE  MASS. 

It  is  assumed  by  many  authorities  that  the  ecclesiastical  vestments 
were  evolved  by  a natural  process  from  the  ordinary  costume  of  a 
Eoman  citizen  of  the  first  or  second  century  of  the  Christian  era. 
The  vestments  used  in  the  celebration  of  the  mass  are: 

(1)  The  cassock,  a close-fitting  robe  reaching  to  the  heels  and  but- 
toned all  the  v/ay  down  in  the  front.  It  is  the  distinctive  dress  of 
clerics  worn  by  them  in  their  homes  and  at  all  sacred  functions,  and, 
in  Catholic  countries,  at  all  times.  The  cassock  of  secular  priests  is 
black;  of  bishops  and  archbishops,  purple  or  violet;  of  cardinals,  red; 
of  the  pope,  white. 

(2)  The  amice  or  amict  (from  the  Latin  amicire,  to  cover,  to  clothe), 
also  called  humeral  (from  the  Latin  humerus,  shoulder),  a piece  of 
linen,  about  3 feet  long  by  2 feet  wide,  with  a cross  embroidered  in 


^0.2287.  COLLECTION  OF  ECCLESIASTICAL  ziRT—CASANOWICZ.  611 


the  middle  of  the  upper  edge^  which  the  celebrant  rests  for  a moment 
on  his  head,  kissing  the  cross,  and  then  spreads  it  over  his  shoulders 
with  a prayer,  binding  it  around  the  shoulders  by  means  of  strings 
at  the  upper  corners  of  the  cloth. 

(3)  The  alb,  a loosely  fitting  shirt-like  robe  of  white  linen  (hence 
its  name,  from  the  Latin  alhus,  white),  reaching  from  head  to  foot. 
It  is  sometimes  adorned  with  a border  of  lace  or  embroidery.  It 
typifies  the  purity  of  life. 

(4)  The  girdle,  or  cincture,  a linen  cord,  the  two  ends  of  which  ter- 
minate in  large  tassels,  with  which  the  priest  binds  the  alb.  It  sym- 
bolizes continence  and  self-restraint. 

(5)  The  maniple,  a strip  of  cloth  about  2 feet  long,  embroidered  with 
three  crosses,  one  in  the  middle  and  one  at  each  of  the  extremities. 
It  is  worn  on  the  left  wrist,  to  which  it  is  attached  by  a pin  or  string, 
hanging  equally  on  both  sides.  It  was  originally  a handkerchief  or 
towel,  and  gradually  developed  into  an  ornamental  and  symbolical 
liturgical  vestment.  It  signifies  the  rope  with  which  Christ  was 
bound  and  the  tears  of  penitence  to  be  wiped  off. 

(6)  The  stole  (also  called  orarium),  a long  band  of  cloth,  put  around 
the  neck  and  crossed  on  the  breast^  being  held  in  this  position  by  the 
girdle.  It  is  also  vmrn  at  the  performance  of  any  rite,  as  ministering 
the  sacraments  or  blessing  persons  and  things.  It  is  the  symbol  of 
spiritual  power  and  jurisdiction.  It  was  perhaps  developed  from  the 
scarf  used  to  protect  the  neck. 

(7)  The  chasuble  (from  Latin  casula,  the  diminutive  of  casa,  hut, 
because  like  a little  house  it  covered  the  whole  body).  It  is  the  outer 
or  upper  vestment  which  is  last  assumed.  It  is  elliptical  in  cut,  open 
on  both  sides  and  at  the  top,  and  as  it  is  passed  over  the  head  to  rest 
on  the  shoulders  it  reaches  to  the  knees  in  front  and  a few  inches 
lower  behind.  The  material  (gold  cloth,  brocade,  silk,  wool,  linen) 
and  color  of  the  casuble,  stole,  and  maniple,  as,  also  of  the  veil  and 
burse,  must  be  the  same.  The  color  of  these  vestments  varies  ac- 
cording to  the  season  or  the  occasion  of  the  mass.  White  or  gold 
cloth  is  employed  on  the  joyous  feasts  of  Christ  and  Mary;  red  is 
used  on  Pentecost,  in  masses  of  the  Holy  Ghost,  and  of  the  apostles 
and  martyrs;  green  is  the  color  of  the  season,  when  there  is  no  special 
feast;  violet  is  used  during  Advent  and  Lent  and  on  all  penitential 
occasions;  and  black  is  used  in  masses  of  the  dead  and  on  Good 
Frida^y. 

(8)  The  biretta,  a stiff  square  cap  with  three  or  four  prominences  or 
projecting  corners  rising  from  its  crown,  and  sometimes  with  a tassel 
in  the  middle  where  the  corners  meet.  It  is  v/orn  by  the  celebrant 
when  he  approaches  the  altar  to  say  mass,  and  is,  like  the  cassock, 
worn  by  the  secular  clergy  generally. 

The  dalmatic  (from  Dalmatia,  where  the  garment  originated)  is  the 
distinctive  vestment  of  the  deacon  when  he  assists  at  high  mass,  the 


612 


PROCEEDINGS  OF  THE  NATIONAL  MUSEUM. 


VOL.  55. 


service  of  benediction,  and  at  processions.  It  resembles  the  chasuble, 
only  it  is  not  rounded  at  the  extremities,  but  straight,  and  has  wide 
sleeves  and  marked  with  two  stripes.  It  has  to  conform  in  color  to 
the  vestments  of  the  celebrant.  The  stole  is  worn  by  the  deacon 
over  the  left  shoulder  and  joined  on  the  right  side. 

The  tunic,  which  is  the  vestment  of  the  subdeacon,  does  not  differ 
much  in  form  from  the  dalmatic. 

Vestments  of  a mass  celebrated  by  a bishop  {pontifical  mass). — The 
bishop,  possessing  the  plentitude  of  priesthood,  wears,  v\^hen  cele- 
brating a pontifical  mass,  the  vestm^ents  of  all  the  ranks  of  the  min- 
istry. Peculiar  to  him  are  the  rochet,  a closely  fitting  garment  of 
linen  with  sleeves,  which  he  wears  over  the  cassock,  gloves,  sandals, 
and  the  miter,  a kind  of  a folding  cap.  It  consists  of  two  like  parts, 
each  stiffened  by  a lining  and  rising  to  a peak.  These  are  sewn  to- 
gether on  the  sides,  but  are  united  above  by  a piece  of  material  that 
can  be' folded  together.  Two  lappets  vuth  fringes  hang  down  from 
the  back.  According  to  the  style,  there  is  distinguished  the  Gothic 
miter,  v/ith  straight  lines  and  sharp  point,  and  the  Italian  miter,  with 
greater  height  and  curved  lines.  The  bishop  also  w^ears  a pectoral 
cross,  and  a pontifical  ring,  and  carries  the  crozier  or  pastoral  staff, 
the  symbol  of  authority  and  jurisdiction. 

53.  Priests^  mass  vestments. — Consisting  of  cassock,  amice,  alb, 
cincture,  maniple,  stole,  chasuble,  and  biretta.  The  maniple,  stole, 
and  chasuble  are  made  of  red  silk  with  floral  designs  in  silver  applique, 
and  come  from  Italy;  the  cassock  is  a gift  of  the  Rev.  John  Fenlon, 
St.  Austens,  Brookland,  District  of  Columbia;  the  amice,  alb,  which 
is  adorned  with  a border  of  embroidered  floral  designs,  the  cincture 
and  biretta  of  velvet,  are  the  gifts  of  the  Rev.  Joseph  Mendl,  Mont- 
clair, New  Jersey.  (Plate  66,  Cat.  Nos.  178996  and  239066-068, 
U.S.N.M.) 

54.  Priests^  mass  vestments. — Consisting  of  alb,  m.aniple,  stole, 
chasuble,  and  biretta.  The  maniple,  stole,  and  chasuble,  of  flov^ered 
croisson  silk  in  white  and  light  green,  come  from  Italy,  the  alb,  of 
linen  with  lace  border,  and  biretta,  of  velvet,  are  the  gifts  of  the  Rev. 
P.  T.  Carew,  Ridgewood,  New  Jersey.  (Plate  67,  Cat.  Nos.  178997 
and  239090-093,  U.S.N.M.) 

55.  Manip>le  of  white  croisson  sillc. — Embroidered  in  silk. — Italy. 
(Cat.  No.  178999,  U.S.N.M.) 

56.  Maniple  of  purple  croisson  silk  brocade. — Italy.  (Cat.  No. 
178999,  U.S.N.M.) 

57.  Maniple  of  white  satin  brocade. — With  borders  and  crosses  in 
silver  and  gold  applique. — Italy.  (Cat.  No.  178999,  U.S.N.M.) 

58.  Manijjle  of  croisson  silk  brocade. — Yfith  borders  and  crosses  in 
yeliov/  silk  brocade. — Italy.  (Cat.  No.  178999,  U.S.N.M.) 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  613 


59.  Maniple  of  green  silk  and  silver  brocade. — Italy.  (Cat.  No. 
178999,  U.S.N.M.) 

60.  Maniple  of  white  croisson  silk  brocade. — With  borders  and 
crosses  in  gold  lace. — Italy.  (Cat.  No.  178999,  U.S.N.M.) 

61.  Maniple  of  red  satin. — With  crosses  of  yellow  silk  bordered 
with  gold  thread  and  the  ends  of  the  bars  of  the  crosses  terminating 
in  fleurs-de-lis. — Italy.  (Cat.  No.  179000,  U.S.N.M.) 

62.  Maniple  of  Rosa  silk  brocade. — With  borders  and  crosses  in 
yellow  silk  brocade. — Italy.  (Cat.  No.  179000,  U.S.N.M.) 

63.  Maniple  of  black  silk  brocade. — With  borders  and  crosses  in 

silver  lace. — Italy.  (Cat.  No.  179000,  U.S.N.M.) 

64.  Maniple  of  black  silk  brocade. — With  crosses  in  yellow  silk 
brocade,  and  yellow  silk  fringes. — Italy.  (Cat.  No.  179001,  U.S.N.M.) 

65.  Maniple  of  black  velvet. — With  borders  and  crosses  of  yellow 
silk  bordered  with  red  silk.  The  four  ends  of  the  crosses  terminate  in 
fleurs-de-lis. — Italy.  (Cat.  No.  179001,  U.S.N.M.) 

66.  Philippine  dalmatic. — Made  of  purple  velvet,  with  rosettes  ajid 
other  floral  designs  in  gold  applique,  in  form  of  a wide,  loose  robe  with 
an  opening  at  the  top  for  passing  of  the  head.  The  usual  form  of  the 
dalmatic  resembles  that  of  the  chasuble,  only  it  is  not  rounded  at 
the  extremities  but  straight. — Philippine  Islands.  (Plate  68,  Cat. 
No.  213406,  U.S.N.M.) 

67.  Bishop’s  miter. — Made  of  white  silk,  embroidered  in  gold  and 
set  with  stones.  Dimensions,  16^  by  13 i inches. — Italy.  (Plate 
69,  fig.  1,  Cat.  No.  179032,  U.S.N.M.) 

68.  Bishop’s  crozier. — Made  of  white  metal.  The  crozier  is  the 
pastoral  staff  of  the  bishop,  symbolizing  his  authority  and  jurisdic- 
tion. It  is  of  metal,  hollow,  usually  highly  ornamented,  with  a hook 
or  curve  on  the  upper  end.  An  archbishop’s  staff  is  surmounted  by 
a cross  or  crucifix;  that  of  a patriarch  bears  a cross  with  two  trans- 
verse bars;  and  that  of  the  pope  bears  a cross  with  three  transverse 
bars.  Height,  6 feet  3 inches. — Italy.  (Plate  69,  fig.  2,  Cat.  No. 
179031,  U.S.N.M.) 

69.  Pectoral  cross. — Made  of  silver,  gilded.  Pleight,  9 inches. — • 
Italy.  (Plate  69,  fig.  3,  Cat.  No.  179033,  U.S.N.M.) 

70.  Mozzetta  (from  Italian  mozzo,  Latin,  mutilus,  mutilated,  cur- 
tailed) . — A short,  cape-shaped  vestment  of  scarlet  silk,  open  in  front, 
which  can,  however,  he  buttoned  over  the  breast,  covermg  the 
shoulder,  with  a little  hood  behmd.  It  is  worn  by  the  Pope,  cardinals, 
bishops,  abbots,  and  others  who  do  so  by  custom  or  papal  privilege. — 
Italy.  (Cat.  No.  211699,  U.S.N.M.) 

71.  Altar  bell.— Mside  of  brass.  At  various  ]garts  of  the  mass, 
especially  during  consecration  and  elevation  of  the  host  and  chalice, 
a small  bell  is  rung  to  attract  the  attention  and  excite  the  devotion 
of  those  present.  Height,  5J  mches;  diameter,  2J  inches. — Spain. 
(Cat.  No.  178862,  U.S.N.M.) 


614 


PROCEEDINGS  OF  THE  NATIONAL  MVSEVM. 


VOL.  55. 


72.  Silver  hell. — Adorned  with  three  Greek  crosses  within  ovals  in 
chased  work.  Height,  If  inches;  diameter,  If  inches. — Seville, 
Spain.  (Cat.  No.  167045,  U.S.N.M.) 

73.  Wooden  clapper. — During  holy  week,  when  music  and  joyous 
sounds  are  excluded  from  the  church,  a wooden  clapper  or  rattle  is 
used  in  place  of  a metal  bell,  to  give  the  various  signals  to  the  con- 
gregation. Measurements,  12  by  14  inches. — (Cat.  No.  179054, 
U.S.N.M.) 

74.  Osculatory. — A bronze  plaque  made  in  form  of  a facade  of  the 
Italian  Renaissance  style,  with  the  representation  of  the  Ecce  Homo 
(Christ  holding  a scepter — <?ompare  Matthew  xxvii,  29),  and  the 
word  lerosolyma  (Jerusalem);  in  the  gable,  a cherub,  and  below,  a 
floral  design;  with  a handle  on  the  back.  The  osculatory  is  an  instru- 
ment whereby  the  ‘‘kiss  of  peace’’  is  given  at  a certain  stage  of  the 
celebration  of  the  mass.  Hence  its  name,  from  the  Latin  osculum, 
kiss;  it  is  also  called  pax,  peace.  In  the  primitive  church  the  usage 
was  for  the  “holy  kiss”  to  be  given  by  the  members  of  the  congre- 
gation promiscuously  to  one  another.  In  the  twelfth  or  thirteenth 
century,  for  reasons  of  convenience,  a substitute  for  the  actual  kiss 
was  introduced  in  the  shape  of  a tablet,  bearing  the  image  of  Christ, 
or  Mary,  or  of  a saint,  or  of  the  crucifixion,  and  fitted  with  a handle, 
which  after  being  kissed  by  the  celebrating  priest,  was  passed  to  those 
who  were  to  receive  the  kiss  of  peace.  It  is  rarely  used  at  present. 
Height,  54  inches;  width,  34  inches. — Italy.  (Plate  70,  fig.  1,  Cat. 
No.  179045,  U.S.N.M.) 

75.  Osculatory. — Gilt  bronze  plaque  in  form  of  a facade  of  the 
Italian  renaissance  style,  flanked  by  caryatids  with  a handle  behind. 
In  the  gable,  God  the  Father  giving  the  blessing;  in  the  center,  the 
descent  of  the  cross,  with  the  Mater  Dolorosa  above  it;  below,  a 
cherub.  Height,  6J  inches;  width,  4f  niches. — Italy.  (Plate  70, 
fig.  2,  Cat.  No.  179046,  U.S.N.M.) 

76.  Hourglass. — An  hourglass  was  formerly  kept  on  the  pulpit  to 
regulate  the  duration  of  the  sermon.  Height,  64  inches;  diameter, 3 J 
inches. — Italy.  (Cat.  No.  152250,  U.S.N.M.) 

77-78.  Vase  and  tray. — Made  of  white  metal.  Chased  and  repousse 
work.  Used  for  ablution  by  the  bishop  before  and  after  celebration 
of  mass.  Height  of  vase,  8 inches;  diameters  3 and  24  inches; 
diameters  of  the  tray,  124  and  94  inches. — Italy.  (Plate  65,  figs.  2 
and  3,  Cat.  No.  152228,  U.S.N.M.) 

SERVICE  OF  BENEDICTION. 

The  service  of  Benediction,  or  as  it  is  more  fully  called.  Benediction 
of  the  Blessed  Sacrament,  is  an  afternoon  or  evening  devotion.  Its 
main  feature  is  the  exposing  of  the  Eucharist  (the  consecrated  host) 
upon  the  altar  in  an  ostensory,  which  is  surrounded  with  lights,  in- 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  615 


censed  and  adored.  After  the  singing  of  certain  hymns  and  litanies 
the  celebrant,  clad  in  a cope  and  his  shoulders  enveloped  in  a humeral 
veil,  in  which  he  wraps  his  hands,  takes  the  ostensory  and  makes 
with  it  the  sign  of  the  cross  in  silence  over  the  kneeling  congregation. 

79-80.  Cope,  veil,  and  stole. — The  cope  is  of  yellow  croisson  silk,  the 
veil  of  v/hite  and  blue  silk.  The  cope  is  a wide  garment,  reaching 
nearly  to  the  feet,  open  in  front  and  fastened  by  a clasp,  with  a semi- 
circular cape  at  the  back. — Italy.  (Plate  71,  Cat.  No.  152226,  and 
179008-9,  U.S.N.M.) 

81.  Ostensory  (from  Latin  ostendere,  to  show,  to  expose,  also  called 
monstrance,  from  Latin  monstrare,  to  show). — This  consists  of  a disk 
encompassed  with  sunbeams  and  surmounted  by  a cross,  set  upon  a 
long  stem,  which  rests  on  a base  like  a chalice.  In  the  center  is  in- 
serted a lunette,  a circular  crystal  case  in  which  the  host  is  placed  for 
exposition.  The  base  and  stem  are  of  brass;  the  upper  part  is  of 
silver,  gilded.  Height,  20|  inches;  diameter,  10  and  4f  inches. — 
Italy.  (Plate  64,  fig.  2,  Cat.  No.  179018,  U.S.N.M.) 

82.  Piece  of  carved  ivory. — Cut  in  form  resembling  a heart.  In 
open  work  are  the  letters  J H S (Jesus  hominum  Salvator),  sur- 
mounted by  a cross.  Above  are  perforations  arranged  to  represent 
a crown.  Around  the  edge  are  incised  diagonal  or  zigzag  lines.  Per- 
haps used  as  an  ecclesiastical  badge.  Dimensions,  4|  by  4|  inches. — 
Italy.  (Cat.  No.  292307,  U.S.N.M.) 

83.  Triptych. — ^Made  in  Gothic  style,  of  wood,  painted  and  gilded. 
On  the  upper  tire  is  represented  Christ  seated  in  the  center,  the  right 
hand  raised  in  blessing,  the^  left  holding  the  Gospels,  with  angels’ 
heads  at  his  feet,  and  Mary  and  the  angel  of  annunciation  on  the 
sides.  On  the  lower  tire,  in  the  center,  is  represented  Mary  holding 
the  Infant  Jesus,  attended  by  angels  on  either  hand;  while  the  two 
side  panels  are  occupied  by  St.  Peter  with  the  keys  and  St.  Paul  with 
the  sword,  respective!}^,  each  holding  the  Gospel  book.  Height,  29 
inches;  width,  20|  inches. — Italy.  (Plate  72,  Cat.  No.  179038, 
U.S.N.M.) 

84.  Triptych. — ^^lade  of  wood,  carved,  painted,  and  gilded.  Pepre- 
senting,  in  relief,  the  crucifixion.  The  shrine  was  used  by  mission- 
aries on  their  journeys.  Height,  17  inches;  width,  27 J inches. — 
Madrid,  Spain.  (Plate  73,  Cat.  No.  178761,  U.S.N.M.) 

85.  Holy  water  fountain. — ^Made  of  white  metal  embossed  with  a 
monogram  and  a crown.  A vessel  containing  water  mixed  with  salt 
and  blessed  by  a priest  is  placed  at  the  entrance  of  churches  and 
houses.  Catholics,  on  entering  a church  or  a house,  usually  dip  the 
fingers  into  the  vessel  and  make  the  sign  of  the  cross.  Pleight,  11 
inches;  width,  5J  inches. — Italy.  (Plate  74,  fig.  1,  Cat.  No.  152237, 
U.S.N.M.) 


616 


PROCEEDINGS  OF  THE  NATIONAL  MUSEUM. 


VOL.  55. 


86.  Holy  water  fountain. — Made  of  porcelain.  In  the  center  is 

painted  a cross  and  I H S {Jesus  hominum  Salvator — ^Jesus  Saviour  of 
Mankind).  Height,  161  inches;  width,  71  inches. — Vitaly.  (Plate  74, 

fig.  2,  Cat.  No.  152239,  U.S.N.M.) 

87.  Holy  water  fountain. — ^Made  of  white  metal.  Embossed  with 
the  figure  of  Mary.  Height,  9|  inches;  width,  7 inches. — Italy. 
(Plate  65,  fig.  3,  Cat.  No.  152238,  U.S.N.M.) 

88.  Holy  water  fountain. — ^Made  of  brass.  The  upper  part  is  carved 
to  represent  the  crucifixion.  Height,  71  inches;  width,  31  inches. — 
Italy.  (Cat.  No.  152236,  U.S.N.M.) 

89.  Holy  water  fountain. — ^Made  of  brass.  Height,  19  inches; 
width,  121  inches. — Italy.  (Cat.  No.  179027,  U.S.N.M.) 

90.  Holy  water  fountain. — ^]\lade  of  porcelain.  Height,  9 inches; 
width,  5 inches. — ^Italy.  (Cat.  No.  152240,  U.S.N.M.) 

91.  Holy  water  fountain. — ^Made  of  porcelain.  Height,  101  inches; 
width,  71  inches. — ^Italy.  (Cat.  No.  152241,  U.S.N.M.) 

92.  Almshox. — Eectangular  iron  box  with  a slit  on  top.  Dimen- 
sions, 5f  by  4J  by  If  inches. — Italy.  (Cat.  No.  179040,  U.S.N.M.) 

93.  Brass  hasin. — ^Adorned  with  a figure,  which  is  seemingly  a com- 
bination of  rosette  and  a star,  in  repousse  work.  Probably  used  for 
receiving  offerings.  Diameter,  171  inches. — Italy.  (Cat.  No.  179028, 
U.S.N.M.) 

94.  Brass  hasin. — With  an  inscription  in  Gothic  (?)  characters  and 
a wheel-shaped  figure  in  repousse  and  chased  work.  Diameter,  161 
inches. — Italy.  (Cat.  No.  179029,  U.S.N.M.) 

LITURGICAL  WORKS. 

95.  Missal  (missale)  on  wooden  stand. — Contains  all  the  liturgy 
required  for  the  celebration  of  the  mass  throughout  the  year.  It  is 
printed  in  Latin  in  red  and  black  letters.  The  black  letters  consti- 
tute the  text  of  the  missal,  and  the  red  its  rubrics  or  directions  in  per- 
forming the  various  actions  of  the  mass.  Height,  12  inches;  width, 
81  inches. — Italy.  (Plate  75,  Cat.  No.  179011,  U.S.N.M.) 

96.  Altar  cards. — Printed  on  cardboard  and  set  in  carved,  gilded 

frames.  Three  cards,  which  contain  certain  portions  of  the  mass 
liturgy,  for  the  reading  of  which  it  is  not  convenient  to  look  into  the 
missal,  are  placed  on  the  altar  in  an  upright  position,  for  the  greater 
convenience  of  the  priest.  Height,  161  12  inches;  width,  171 

and  101  inches. — Italy.  (Plate  76,  Cat.  No.  179014,  U.S.N.M.) 

97.  Manuscript  of  two  parchment  leaves  of  a missal. — With  illumi- 
nated initials.  Dimensions,  20  by  14  inches. — Italy.  (Cat.  No. 
179012,  U.S.N.M.) 

98.  Canon  of  the  mass  {Canon  Missae). — Containing  that  part  of 
the  mass  which  is  permanent  and  unchanging  in  its  prayers  and 
ceremonies,  hence  the  name,  ^ ‘ canon — that  is,  rule,  or  fixed  stand- 


no.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  617 

ard.  Printed  in  red  and  black  characters  at  Venice  in  1624.  The 
title-page  is  adorned  with  vignettes  depicting  the  Acts  of  the  Apostles, 
while  two  full-page  illustrations  represent  the  Last  Supper  of  Christ 
with  the  Apostles,  and  the  Trinity,  and  celebration  of  the  Eucharist, 
respectively.  Bound  in  red  Bussian  leather,  gold- tooled  with  the 
archepiscopal  arms  of  Venice.  Height,  i4-J  inches;  width,  10  inches. — 
Venice*  Italy.  (Cat.  No.  214725,  U.S.N.M.) 

99.  AntipJionany  {AnU'phonarium  oMreviatum:  videlicet  dominicale 
et  fesiivum) . — Contains  hymns  and  psalms  which  are  chanted  alter- 
nately by  tv7o  choirs.  Printed  in  Latin  in  red  and  black  letters  at 
Venice  in  1547.  Bound  in  sheepskin.  Height,  14  inches;  width, 
9f  inches. — Venice,  Italy.  (Cat.  No.  288986,  U.S.N.M.)  Gift  of 
Miss  Louise  Salter  Codwise. 

100.  Pontificate  Romanum, — ¥7ith  wooden  stand.  The  pontifical 
contains  the  ritual  for  the  performance  of  rites  and  functions  re- 
served for  a bishop,  such  as  the  consecration  of  churches,  altars, 
and  sacred  vessels ; the  administration  of  the  sacraments  of  confirma- 
tion and  ordination,  as  fixed  by  Pope  Clement  VIII  (1592-1605). 
Printed  in  Latin  in  red  and  black  characters  at  Antwerp,  Belgium, 
in  1707.  Bound  in  leather  and  covered  with  red  velvet.  With 
gilt  and  tooled  edges.  Height,  6J  inches;  width,  4 inches. — Atrato 
River,  Colombia,  South  America.  (Cat.  No.  286447,  U.S.N.M.) 
Lent  by  Col.  David  duBose  Gaillard. 

OBJECTS  OF  VENERATION  AND  DEVOTION. 

CEOSSES  AND  CRUCIFIXES. 

The  cross  essentially  consists  of  an  upright  and  a transverse  piece 
placed  upon  one  another  in  various  forms;  a crucifix  is  a cross  with 
a figure  fixed  on  it.  The  cross  was  a common  instrument  of  capital 
punishment  among  the  ancients.  It  was  also  and  is  still  a most 
common  religious  symbol  of  pre-Christian  and  non-Christian  reli- 
gions, and,  like  the  triangle  and  other  geometric  figures,  it  is  some- 
times merely  ornamental  in  origin  with  no  symbolic  significance. 
In  Christianity,  on  account  of  the  death  of  Christ  upon  the  cross,  it 
became  the  principal  symbol  of  faith  and  emblem  of  salvation. 

There  are  four  principal  types  of  the  cross:  1.  The  Tau  cross 

{crux  commissa) , from  its  form  of  the  Greek  Tau  T,  also  called  St. 
Anthony’s  cross,  after  the  legend  that  St.  Anthony  (about  251-356) 
exterminated  the  idols  of  Egypt  with  such  a cross;  it  is  the  earliest 
form  of  the  cross.  2.  The  equilateral  or  Greek  cross,  where  two 
equal  arms  cross  one  another  at  right  angles  in  the  middle.  3.  St. 
Andrew’s  cross  {crux  decussata) , when  two  shafts  of  equal  length  are 
crossed  diagonally  in  the  middle  X , so-called,  because  the  Apostle 
St.  Andrew  is  supposed  to  have  been  martyred  upon  such  a cross; 
4.  The  Latin  cross  {crux  iimrdssa,  or  capitata),  in  which  the  upright 


618 


PROCEEDINGS  OF  THE  NATIONAL  MUSEUM. 


VOL.  55.. 


is  longer  than  the  transverse  beam  and  is  crossed  by  it  near  the 
top  -j-.  It  is  the  form  supposed  to  have  been  used  in  the  crucifixion 
of  Christ.  A variety  of  this  cross  is  the  Lorraine  or  Jerusalem 
cross,  with  two  transverse  bars,  the  upper  one  shorter  than  the 
lower  so-called,  because  Godfrey  de  Bouillon,  Duke  of  Lorraine, 
when  chosen  by  the  Crusaders  as  the  first  king  of  Jerusalem  (1099), 
adopted  this  cross.  It  is  also  called  the  cardinal  cross,  because  it 
is  one  of  the  distinctive  insignia  of  cardinals  and  archbishops. 

101.  Processional  cross. — Made  of  bronze.  With  trefoil  ends  (cross 
botone).  From  the  four  angles  of  the  junction  of  the  two  beams 
issue  rays.  Above  is  a tablet  with  the  title:  J N B J,  the  initials  of 
Jesus  Nazar enus  Bex  Judaeorum  (Jesus  of  Nazareth,  King  of  the 
Jews),  the  inscription  Pilate  is  recorded  to  have  placed  upon  the 
cross  of  Christ  (John  xix,  19-20).  With  a socket  for  inserting  a 
pole.  Church  processions  are  always  headed  by  a cross  fastened 
on  a pole.  Height,  33  inches. — From  a church  of  San  Domingo^, 
Valley  of  Mexico.  (Plate  77,  Cat.  No.  158316,  U.S.N.M.) 

102.  Processional  (?)  cross. — Made  of  bronze,  richly  adorned  in 
chased  and  hammered  work.  At  the  ends  are  medallions  repre- 
senting, respectively:  On  top,  God  the  Father  holding  in  the  left 
hand  a cross  and  with  the  right  giving  the  blessing;  to  the  right,. 
Mary;  to  the  left,  probably  John  the  Baptist;  and  below,  John  the 
Evangelist,  holding  the  cup  of  the  Eucharist.  The  figure  of  Christ 
was  broken  away.  With  a tang  for  inserting  into  a shaft.  Height 
12  inches. — Italy.  (Plate  78,  Cat.  No.  152231,  U.S.N.M.) 

103.  Ivory  cross  with  appurtenances  of  the  Passion. — The  cross 
proper  rises  from  a post  which  is  set  into  a base.  Both  the  post 
and  the  base  have  on  their  sides  a sort  of  railing  in  open  work.  The 
base  rests  upon  a plinth  and  this  again  is  placed  on  a platform.  At 
the  corners  of  the  base  are  tv/isted  columns  and  on  top  of  the  corners 
of  the  base  as  well  as  of  the  plinth  and  platform  are  carved  vases. 
The  front  and  back  are  adorned  with  rosettes  and  clusters  of  grapes.. 
The  whole  stands  on  rounded  feet. 

The  objects  connected  with  the  Passion  represented  on  this  cross 
are,  beginning  at  the  top,  a pelican.  From  the  habit  of  this  bird 
of  storing  food  in  the  large  pouch  attached  to  its  lower  mandible  for 
the  purpose  of  feeding  its  young,  which  it  does  by  pressing  the  pouch 
against  the  breast,  arose  the  belief  that  it  opened  its  breast  with  its 
bill  to  feed  its  young  with  its  own  blood — a belief  which  seemed  to 
derive  support  from  the  red  at  the  end  of  the  bill,  and  thus  the 
pelican  became  a symbol  of  Christ’s  love  for  his  church. 

Underneath  is  the  tablet  inscribed  with  the  title,  I N R I — Jesus 
Nazarenus  Rex  Judaeorum  (Jesus  of  Nazareth,  King  of  the  Jews — 
John  xix,  19-20).  Upon  the  transverse  beam  are,  at  the  right  end 
(of  the  plate)  a winged  sphinx,  at  the  left  a winged,  horned  griffin. 


1^0.229,1.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  619 


To  the  right  of  the  vertical  beam  a hand,  and  to  its  left  a vase. 
These,  with  the  bundle  or  tuft  fastened  to  a staff  seen  next  to  the 
sphinx,  may  either  refer  to  the  episode  of  the  alabaster  vase  with 
precious  ointment  which  Mary  of  Bethany  poured  upon  the  feet  of 
Jesus  and  dried  them  with  her  hair,  shortly  before  the  Passion 
(John  xii,  3),  or  to  that  of  the  washing  of  the  feet  of  the  disciples  by 
Jesus  (John  xiii,  4-5),  while  next  to  the  griffin  is  the  lance  with  which 
Jesus’  side  was  pierced  (Matthew  xxvii,  49).  On  the  front  of  the 
transverse  beam  is  in  the  center  the  crown  of  thorns  (Matthew  xxvii, 
28),  and  to  its  sides  the  hammer  and  tongs,  respectively,  and  a nail 
at  either  side  of  them.  Beneath  the  transverse  beam  are,  in  suc- 
cession, the  seamless  coat  of  Jesus  and  the  dice  which  the  soldiers 
used  in  castinglotsforit  (John  xix,  23-24) ; two  swords  (Luke  xxii,  38 
and  50);  the  lantern  which  the  officials  used  in  their  search  for  Jesus 
(John  xviii,  3) ; and  the  handkerchief,  or  sudarium  of  Veronica.  This 
refers  to  the  story  that  when  Jesus  passed  her  door,  bearing  his  cross,. 
Veronica,  touched  with  compassion,  wiped  the  drops  of  agony  from 
his  face,  and  the  features  of  Jesus  were  imprinted  upon  the  cloth. 
According  to  another  account  Veronica  was  the  woman  that  was 
healed  by  touching  Christ’s  robe  (Matthew  ix,  20-21).  Desiring  a 
portrait  of  him,  St.  Luke  thrice  painted  it.  Then  Jesus  said  to  her,^ 
‘‘Unless  I aid  you,  Luke’s  art  is  in  vain,  for  my  face  is  only  known 
to  him  who  sent  me.”  Afterwards,  being  at  her  house,  he  asked  for 
water  to  wash  his  face,  and  returned  to  her  the  napkin  with  the  por- 
trait. Five  cities  claim  the  possession  of  the  genuine  sudarium  of 
Veronica — Turin  in  Italy,  Toulouse,  Besan^.on,  and  Campiegne  in 
France,  and  Soriat  in  Spain  (?).  Veronica  herself  is  honored  by  a 
shrine  at  the  right  hand  of  the  high  altar  of  St.  Peter’s  in  Rome,  and 
her  festival  is  observed  on  the  4th  of  February. 

Farther  down,  a cherub;  skull  and  crossbones,  emblematic  of 
Christ’s  triumph  over  death  and  the  grave,  or  it  may  be  intended  to 
indicate  Golgotha,  the  place  of  skulls  (Matthew  xxvii,  33).  It  is  also 
explained  as  the  skull  of  Adam,  according  to  the  tradition  that  the 
cross  was  placed  on  the  resting  place  of  the  first  father  of  mankind. 
Upon  a sort  of  platform  underneath  is  placed  the  cock  of  St.  Peter 
(Matthew  xxvi,  34  and  74).  From  the  platform  rise  on  staffs  to  the 
right  the  cup  of  vinegar  and  to  the  left  the  sponge  which  was  dipped 
into  it  and  reached  up  to  Jesus  on  the  cross  (Matthew  xxvii,  48). 
Diagonally  placed  are  the  ladder  for  mounting  up  to  the  cross,  and 
the  pillar,  with  the  rope  wound  around  it,  with  which  Jesus  was 
bound  to  the  pillar  to  be  scourged  (Matthew  xxvii,  26).  Lastly, 
the  vase  and  basin  which  rest  on  the  base  may  either  be  intended  for 
the  vessels  whxh  Jesus  used  in  washing  the  feet  of  the  disciples 
(John  xiii,  4-5),  or  for  those  in  which  the  spices  were  brought  to  the 
grave  to  anoint  the  body  of  Jesus  (John  xix,  39;  Comp.  Mark  xvi,  1). 


620* 


PROCEEDINGS  OF  THE  NATIONAL  MUSEVM. 


VOL.  55. 


Height,  18J  inches. — From  the  old  Mission  Church  at  Jemez,  New 
Mexico.  (Plate  79,  Cat.  No.  211877,  U.S.N.M.) 

104.  Wooden  cross. — Inlaid  with  straw  to  represent  the  instru- 
ments of  the  Passion.  Height,  21  inches. — From  an  old  Spanish 
church  in  Caboica,  Senora,  New  Mexico.  (Cat.  No.  179041,  U.S.N.M.) 

105.  Wooden  cross. — Inlaid  with  straw  in  a lozenge  pattern. 
Height,  21  inches. — From  an  old  Spanish  church  in  Caboica,  Senora, 
New  Mexico.  (Cat.  No.  179042,  U.S.N.M.) 

106.  Wooden  crucifix. — With  the  figure  of  Christ  in  mother-of- 
pearl.  Height,  3|  inches. — Palestine.  (Cat.  No.  74617,  U.S.N.M.) 

107.  Lorraine  crucijix. — Made  of  silver,  openwork.  Pendant. 
Height,  31  inches. — Nurnberg,  Germany. — (Cat.  No.  286813, 
(U.S.N.M.)  Lent  by  Miss  Julia  Halsted  Chadwick. 

108.  Glass  Consisting  of  cut  crystals  fixed  to  a frame  of 

brass  rods.  Pendant.  Height,  3J  inches. — Probably  from  Italy. 
(Cat.  No.  262158,  U.S.N.M.)  Lent  by  Mrs.  G.  Brown  Goode. 

109.  Woodmen  crucifi.x. — Inlaid  with  pieces  of  looking-glass.  The 
figure  is  of  white  metal  and  fastened  to  a chased  metal  plate.  The  four 
ends  are  likewise  encased  in  metal,  terminating  in  trefoils  (cross 
hotone).  Pendant.  Height,  5J  inches. — Spain.  (Cat.  No.  286814, 
U.S.N.M.)  Lent  by  Miss  Julia  Halsted  Chadwick. 

110.  Wooden  crucifix. — With  the  figure  of  Christ  of  brass.  Over 
the  crossbeam  is  the  title,  1 N R 1 (Jesus  of  Nazareth,  King  of  the 
Jews).  At  the  four  ends  are  medallions,  representing,  at  the  top,  a 
dove,  symbol  of  the  Holy  Ghost  (Matthew  iii,  16) ; to  the  right,  the 
bust  of  Christ;  to  the  left,  the  bust  of  Mary ; and  below  a lamb,  symbol 
of  Christ  (John  1,  29).  Height,  44  inches. — Mexico.  (Cat.  No. 
277743,  U.S.N.M.).  Lent  by  Major  Harry  S.  Bryan. 

111.  Pectoral  cross. — Made  of  brass,  gilded.  Hollow  and  chased 
work.  Height,  4 inches. — Italy.  (Cat.  No.  179117,  U.S.N.M.) 

112.  Lorraine  cross. — Made  of  brass,  hammered  work.  Engraved 
on  one  side,  "‘San  Antoni  ora  pro  me’^  (St.  Anthony,  pray  for  me); 
on  the  other,  “ San  Cornelia  ora  pro  me’’  (St.  Cornelia,  pray  for  me). 
Height,  3J  inches. — Italy.  (Cat.  No.  179118,  U.S.N.M.) 

RELICS  AND  RELIQUARIES. 

lielics  are  the  remains  of  departed  saints.  They  include  (1)  the 
bodies  or  parts  of  the  bodies  of  the  venerated  persons;  (2)  objects  used 
by  them  or  connected  with  their  death,  such  as  clothes,  vestments, 
rosaries,  tlie  nails,  lance,  spear,  or  fragments  of  the  true  cross  of 
Christ,  the  girdle,  veil  of  Mary,  etc. ; and  (3)  objects  connected  with  their 
tomb  or  hallowed  by  contact  with  their  bodies.  .Relics  are  often  car- 
ried in  solemn  procession,  and  pilgrimages  are  made  to  the  churches  or 
mouptsteries  in  which  they  are  preserved.  No  church  building  can  be 
consecrated  unless  it  contains  relics.  rielif|uaries  are  repositories  of 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  621 


relics  and  are  usually  made  of  precious  metals  and  adorned  with 
jewels,  in  form  of  a box,  casket,  or  shrine.  The  veneration  of 
relics  dates  back  to  the  early  centuries  of  Christianity;  in  the  fourth 
century  it  was  already  widely  spread. 

113.  Silver  reliquary. — Made  in  form  of  an  ostensory,  encompassed 
by  sunbeams.  Chased  work.  Behind  the  glass  is  seen  a crosslet, 
supposed  to  be  made  from  a particle  of  the  true  cross.  By  the  ^Mrue 
cross’’  is  meant  the  actual  original  cross  upon  which  Jesus  was  cruci- 
fied. It  is  believed  by  both  the  Roman  Catholic  and  the  Eastern 
Church  that  the  cross  buried  upon  Golgotha  was  found  in  326  A.  D. 
by  the  Empress  Helena,  mother  of  Constantine  the  Great,  and  the 
church  commemorates  this  event  by  appointing  the  3d  of  May  (in 
the  Eastern  Church  the  13th  of  September)  as  the  annual  festival  of 
the  discovery  of  the  cross  {inventi  crucis).  Height,  8§  inches. — Se- 
ville, Spain.  (Cat.  No.  166987,  U.S.N.M.) 

114.  Reliquary. — Consisting  of  an  oval  metal  frame.  Behmd  the 
glass  in  front  is  a tiny  cross  set  in  a gilt  frame  of  scroll  design.  An 
inscription  reads.  Lignum  S S.  crucis  D.  N.  J.  C.  (wood  of  the  most 
holy  cross  of  our  Lord  Jesus  Christ).  On  the  back  is  the  episcopal 
wax  seal,  attesting  to  the  genuineness  of  the  relic.  Diameters, 
by  1|  inches. — Probably  from  Italy.  (Cat.  No.  256893,  U.S.N.M.) 
Lent  by  Mrs.  S.  Brown  Goode. 

115.  Relic  of  St.  Anne,  mother  of  Mary. — In  an  oval  case  of  white 
metal.  On  the  back  is  in  relief  an  effigy  of  Mary  and  the  petition  in 
French,  *^0  Mary,  conceived  without  sin,  pray  for  us  who  take  their 
refuge  to  thee.”  Diameters,  1 inch  by  | of  an  inch. — Italy.  (Cat. 
No.  179058,  U.S.N.M.) 

116.  Relic  of  St.  Peter. — In  an  oval  case  of  white  metal,  with  the 
episcopal  seal.  Diameters,  IJ  by  IJ  inches. — Italy.  (Cat.  No. 
179061,  U.  S.  N.  M.) 

117.  Relics  of  St.  Clement. — Consisting  of  two  molar  teeth  in  a brass 
frame.  St.  Clement  was  the  third  bishop  of  Rome  toward  the  end  of 
the  first  century.  Diameters,  1|  by  14  inches. — Italy.  (Cat.  No. 
179060,  U.S.N.M.) 

118.  Relics  of  Christ,  Mary,  St.  Joseph,  St.  Francis  a Paula  {1416- 
1507),  St.  Francis  Xavier,  32  (1506-1552),  St.  Theresa  (1515- 
1582),  and  St.  Aloysius  Gonzaga  (1568-1591). — In  an  oval  brass  case. 
Diameters,  3 by  2J  inches. — Italy.  (Cat.  No.  179062,  L^.S.N.M.) 

119.  Relic  of  St.  Charles  Borromeo  (1538-1584)’ — In  an  oval  case  of 
white  metal  with  the  episcopal  seal.  St.  Borromeo  was  Cardinal  and 
Archbishop  of  Milan.  Diameters,  II  by  1 inch. — Italy.  (Cat.  No. 
179059,  U.S.N.M.) 

120.  Silver  reliquary. — Oval  containing  relics  of  Mary,  St.  Joseph, 
St.  John  of  the  Cross  (1542-1591),  and  St.  Theresa,  framed  by  a floral 
design  in  filagree  work,  studded  with  colored  stones.  With  the  epis- 


622 


PROCEEDINGS  OF  THE  NATIONAL  MUSEUM, 


TOL.  5& 


copal  seal.  Height,  3 inches;  width,  2J  inches. — Italy.  (Cat.  No. 
179037,  U.S.N.M.) 

121.  Silver  reliquary. — With  miniature  painting  of  Mary.  Spanish 
worlananship.  Brought  to  New  Mexico  in  1783  by  Padre  Sanchez. 
Diameters,  4 and  3 inches. — -Pueblo  of  Tesuque,  New  Mexico.  (Cat. 
No.  176080,  U.S.N.M.) 

122.  Silver  reliquary . — With  miniature  paintings.  Height,  2\ inches; 
width,  2 inches. — Madrid,  Spain.  (Cat.  No.  178864,  U.S.N.M.) 

123.  Sacred  heart. — Model  of  a burning  heart,  made  of  brass.  The 

adoration  of  and  devotion  to  the  sacred  heart  of  Jesus,  as  a noble  part 
of  his  person  and  a symbol  of  his  love,  became  general  and  popu- 
lar in  the  Catholic  Church  through  Margaret  ^larie  Alacoque,  a 
French  nun  of  the  Visitation  Order,  w'ho  lived  in  the  seventeenth  cen- 
tuiy.  Since  1856  a yearly  feast  in  honor  of  the  sacred  heart  is  cele- 
brated on  Friday  after  the  feast  of  Corpus  Christi.  Height,  2J 
inches. — Italy.  (Cat.  No.  179063,  U.S.N.M.) 

IMAGES. 

The  cult  of  images  is  practiced  both  in  the  lloman  Catholic  and  in 
the  Eastern  Church.  In  the  Poman  Catholic  Church  both  pictures 
and  statues  are  used,  while  the  Eastern  Church  forbids  statues.  The 
doctrine  of  the  Roman  Catholic  Church  concerning  the  veneration  of 
images,  as  formulated  by  the  Council  of  Trent  (1563),  is  that  the 
images  of  Christ,  of  the  Virgin  Mother  of  God,  and  of  the  saints  are  to 
be  had  and  retained  particularly  in  temples,  and  that  honor  and  ven- 
eration are  to  be  given  them;  not  that  any  divinity  or  virtue  is  be- 
lieved to  be  in  them  on  account  of  vdiich  they  are  to  be  worshiped,  or 
anything  is  to  be  asked  of  them,  but  because  the  honor  vdiich  is  shovm 
to  tliem  is  referred  to  the  prototypes  which  those  images  represent;  in 
such  wise  that  by  the  images  v^hich  vm  kiss,  and  before  which  we  un- 
cover the  head  and  Imeel,  we  adore  Christ  and  venerate  the  saints 
whose  likenesses  they  bear.  The  cult  paid  to  imiages  is  designated 
with  the  Greek  word  dulia  (secondary  veneration),  in  contradistincton 
from  latria  (supreme  worship),  v^hich  is  allowed  to  be  offered  to  God 
only. 

124.  Jesus  in  Gethsemane. — Representing  Jesus  kneeling  with  the 
cup  in  front  of  him  (Matthew  xxvi,  36).  Carved  in  relief  upon  a piece 
of  limestone  from  the  liver  Jordan.— Jerusalem,  Palestine.  (Cat. 
No.  76975,  U.S.N.M:.) 

125.  Wooden  figure  of  Clmst.— The  long  curled  locks  are  held  by 
the  crown  of  thorns  of  gilded  brass ; behind  the  head  rises  a cruciform 
halo  of  the  same  material;  around  the  loins  is  a kind  of  apron,  like- 
vdse  of  gilded  brass,  with  birds  and  flora]  designs  in  respousse  work, 
vdiile  undei  it  is  a loin  cloth  of  blue  satin.  In  the  haiids  and  feet, 
vdiich  latter  are  crossed  over  one  anothei,  are  the  holes  of  the  nails, 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  623 


and  on  the  left  side  of  the  chest  is  the  hole  caused  by  the  spear  (John 
xix,  34).  The  figure  evidently  was  part  of  a ciucifix.  Height,  12 
inches. — Philippine  Islands.  (Plate  SO,  Cat.  No.  213405,  U.S.N.M.) 

126.  Wooden  figure  of  Christ. — Similar  to  the  preceding  one.  The 
loin  cloth  consists  of  a piece  of  brocade,  with  gold  applique.  Height, 
28  inches. — Philippine  Islands.  (Cat.  No.  213405,  U.S.N.M.) 

127.  Cloak  of  figure. — Made  of  red  satin,  with  the  letters  J H S 
{Jesus  hominum  Salvator — Jesus  Saviour  of  Mankind)  and  fleurs-de-lis 
in  gold  applique. — Philippine  Islands.  (Cat.  No.  213-408,  U.S.N.M.) 

128.  The  Lord’s  Supper. — Engraved  on  the  shell  of  the  peail  oyster. 
Measurements,  6 by  6 inches. — Bethlehem,  Palestine.  (Plate  81, 
fig.  1,  Cat.  No.  74542,  U.S.N.M.) 

129.  The  Ascension. — Engraved  on  the  shell  of  the  pearl  oyster. 
Ai’ound  the  center  repiesenting  the  Ascension  are  12  medallions, 
representing  the  apostles  with  their  emblems,  in  the  following  order: 
1,  St.  Petei  with  the  keys;  2,  vSt.  Paul  with  the  sword;  3,  St.  Matthew 
with  the  pick;  4,  St.  James  the  Lesser  with  the  club;  5,  St.  John 
with  the  chalice;  6,  St.  James  the  Elder  with  the  pilgrim’s  staff; 
7,  St.  Philip  with  the  small  cross;  8,  St.  Bartholomew^  with  the  book 
and  knife;  9,  St.  Andrew  with  his  cross  (the  crux  decussata,  see  above 
p.  617);  10,  St.  Thomas  with  the  architect’s  square;  11,  St.  Matthias 
with  the  ax;  12,  St.  Simon  with  the  saw.  Measurements,  6 by  6 
inches. — ^Bethlehem,  Palestine.  (Plate  81,  fig.  2,  Cat.  No.  74541, 
U.S.N.M.) 

130.  Bust  of  Mary. — Made  of  terra  cotta,  painted  and  gilded. 
Mary,  the  mother  of  Christ,  is  venerated  in  the  Catholic  Church  as 
the  most  exalted  of  created  beings.  She  is  called  the  ‘^Blessed 
Virgin,”  the  ^‘Holy  Virgin,”  ^‘Our  Lady”  (Italian  ‘^Madonna”),  and 
since  the  Council  of  Ephesus  in  431  the  designation  ^‘Mother  of  God” 
is  formally  applied  to  her.  While  the  veneration  paid  to  other  saints 
is  termed  dulia,  she  alone  is  entitled  to  hyperdulia,  and  her  intercession 
is  invoked  more  than  that  of  ail  others.  She  is  the  patroness  of  many 
countries,  cities,  and  societies.  In  ecclesiastical  art  she  occupies  a 
most  important  position,  and  all  the  chief  events  of  her  life  have 
formed  the  subjects  of  artistic  representation.  Height,  12  inches. — 
Italy.  (Cat.  No.  179049,  U.S.N.M.) 

131.  Virgin  of  the  Pillar.” — Statuette  made  of  brass,  chiseled 
work,  representing  Mary  standing  upon  a pillar,  holding  in  her  left 
arm  the  Infant  Jesus,  both  crowned,  with  a halo  of  rays  and  stars. 
This  is  a model  of  a celebrated  statue  of  that  name  (Nuestra  Senora 
del  Pilar)  at  Saragossa  in  Spain.  Tradition  asserts  that  the  Virgin, 
standing  upon  a pillar,  appeared  to  St.  James  (San  Jago),  the  apostle 
and  patron  saint  of  Spain,  when  he  was  making  a missionary  pilgi’im- 
age  through  Spain.  Height,  7 inches. — Spain.  (Cat.  No.  178866, 
U.S.S.N.M.) 


624 


PROCEEDINGS  OF  THE  NATIONAL  MUSEUM, 


VOL.  55. 


132.  Virgin  of  the  Pillar,” — ^Miniatm^e  statuette  of  silver,  gilded. 
Height,  2|  inches. — Spain.  (Cat.  No.  178865,  U.S.N.M.) 

133.  Statuette  of  Mary. — Called  Virgin  of  Good  Friday.’’  Made 
of  brass,  chiseled  work.  Height,  4^  inches. — Madrid,  Spain.  (Cat. 
No.  178867,  U.S.N.M.) 

134.  Bust  of  Mary. — Made  of  papier-mache,  with  a dome-shaped 
crown.  Height,  10  inches. — Italy.  (Cat.  No.  179052,  U.S.N.M.) 

135.  “ Pieta.” — ^Mary  holding  the  body  of  Christ.  Statuette  of 
wood,  painted.  Height,  13  inches. — Italy.  (Cat.  No.  179048, 
U.S.N.M.) 

136.  ‘‘Pieta.” — The  same  as  the  preceding  one.  Height,  12 
inches. — Italy.  (Cat.  No.  179048a,  U.S.N.M.) 

137.  Crown. — Made  of  bronze,  gilded,  and  adorned  with  colored 
stones.  Dates  from  the  seventeenth  century.  It  decorated  an 
image  of  Mary,  in  the  demolished  church  of  St.  Anna,  the  former 
nunnery,  Zbraslovski  Dom,  in  Prague,  Bohemia.  Height,  5 inches; 
diameter,  4 inches. — Prague,  Bohemia.  (Cat.  No.  154776,  U.S.N.M.) 

138.  Porcelain  jjlague. — Bepresenting  Mary,  in  relief.  Dated 
1795.  Height,  13  inches;  width,  9f  inches. — Florence,  Italy.  (Cat. 
No.  214721,' U.S.N.M.) 

139.  Porcelain  plague. — Painted  with  three  figures — Mary,  crowned, 
and  two  women  performing  the  devotion  of  the  rosar}^  before  her. 
Dated  from  the  seventeenth  century.  Height,  9f  inches;  width,  10^ 
inches. — Italy.  (Cat,  No.  152242,  U.S.N.M.) 

140.  Silver  medallion. — Representing,  on  one  side,  Mary  with 
the  Infant  Jesus;  on  the  other,  a burning  heart  pierced  by  a sword, 
alluding  to  Luke  ii,  35.  Set  in  silver  filigree.  Measurements,  If  by 
IJ  inches. — Italy.  (Cat.  No.  179056,  U.S.N.M.) 

141.  Miniature  of  Mary. — Painted  on  glass.  Diameters,  2 and 
If  inches. — Spain.  (Cat.  No.  178869,  U.S.N.M.) 

142.  Two  jjrocessional  banners. — Made  of  white  metal.  Embossed 
on  one  side  with  the  figure  of  Mary,  holding  in  the  right  hand  a 
rosary,  on  the  left  arm  the  Infant  Jesus;  on  the  other  side,  with  the 
figure  of  St.  Dominic,  to  whom  the  introduction  of  the  rosa^ry  in  its 
present  form  is  ascribed,  holding  a lily,  which  is  his  emblem.  Prob- 
ably used  at  the  feast  of  the  rosary,  vdiich  is  celebrated  on  the  first 
Sunday  in  October.  Measurements,  10  by  7 inches. — Italy.  (Plate 
82,  Cat.  No.  179070-071,  U.S.N.M.) 

143.  Silver  medallion. — Representing,  on  one  side,  St.  Peter;  on 
the  other,  St.  Paul.  Set  in  silver  filigree.  Diameter,  IJ  inches. — 
Italy.  (Cat.  No.  179057,  U.S.N.M.) 

144.  Mace  of  St.  Sebastian. — Made  of  white  metal,  terminating 
at  the  top  in  a statuette  of  the  saint.  St.  Sebastian  was,  according 
to  traditioip  a Roman  soldier  and  Cliristian  martyr,  having  been 
shot  to  death  about  288  A.  D.,  by  order  of  Diocletian.  He  is  vener- 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  625 


ated  in  the  Catholic  Church  as  patron  of  sharpshooters  and  pro- 
tector from  pestilence.  He  is  usually  represented  as  a fair  youth 
bound  to  a pillar  or  tree  and  riddled  with  arrows.  The  mace  was 
probably  carried  in  procession  on  his  festival,  on  the  20th  of  January. 
Length,  2 feet  1 inch. — Italy.  (Cat.  No.  179068,  U.S.N.M.) 

145.  Porcelain  plaque  representing  St.  Anthony  of  Padua. — St. 
Anthony,  born  in  Lisbon,  Portugal,  in  1195;  died  near  Padua,  Italy, 
in  1231;  was  a Franciscan  theologian  and  preacher  to  whom  the  per- 
formance of  many  miracles  are  attributed.  He  was  canonized  by 
Gregory  IX  in  1232,  and  his  day  in  the  Koman  calendar  is  June  13. 
He  is  especially  invoked  for  the  recovery  of  things  lost.  Diameters, 
14  by  8J  inches. — Italy.  (Cat.  No.  179035,  L^.S.N.M.) 

146.  Porcelain  plaque  of  the  Sodality  of  St.  Anthony  of  PoAua. — 
Dated  1620.  A sodality  is  a congregation  or  association  consisting 
of  lay  persons,  meeting  together  at  stated  times,  under  ecclesiastical 
direction  for  the  performance  of  pious  exercises.  Diameters,  14  by  12 
inches. — Italy.  (Cat.  No.  179036,  U.S.N.M.) 

147.  St.  Theresa. — Statuette  of  wood.  St.  Thereas  (born  1515, 
died  1582)  was  a Spanish  nun  of  the  Carmelite  (Jrder,  of  which  she 
founded  a reformed  branch.  She  is  famous  as  a writer  of  mystical 
and  ascetical  works.  She  was  canonized  in  1622,  and  is  also  vener- 
ated, next  to  St.  James,  as  patron  saint  of  Spain.  Height,  21 
inches. — Italy.  (Cat.  No.  179-047,  U.S.N.M.) 

148.  St.  Theresa. — Souvenir  of  the  tercentenar}^  anniversary  of 
her  death  in  1582.  Plaque  of  white  metal  bearing  her  image.  Height 
4J  inches;  width,  2\  inches. — Madrid,  Spain.  (Cat.  No.  167043, 
U.S.N.M.) 

PRINTS. 

They  are  for  the  greater  part  representations  of  images  or  paintings 
which  are  preserved  and  venerated  in  some  church,  mostly  in  Siena, 
Italy. 

149.  Christ  on  the  cross. — Print  on  paper.  To  the  right  stands 
Adam  in  the  attitude  of  adoration;  to  the  left,  a winged  figure  in 
Corinthian  helmet,  holding  in  the  right  hand  a lance  and  with  the 
left  pointing  to  the  crucified;  belov/  lies  Eve  in  sleep.  A serpent  is 
biting  the  feet  of  Christ,  in  allusion  to  Genesis  iii,  15.  S§  by  6f 
inches. — Italy.  (Cat.  No.  179079,  U.S.N.M.) 

150.  The  Holy  Child  of  Cebu  {Santo  Nino  de  Cebu). — Print  on  paper. 

‘ ‘ The  oldest  miraculous  image  is  the  Holy  Child  of  Cebu,  reputed  to 
have  been  found  on  the  shore  of  the  island  of  Cebu  in  1565.  It  is  said 
to  be  an  image  of  the  Holy  Child  Jesus.  It  is  a wooden  image  15 
inches  long,  with  ebon  features,  and  is  kept  in  a strong  room  in  the 
church  of ‘the  Holy  Child,  on  the  island  of  Cebu.  lYhen  exposed  to  • 
view  before  the  populace  it  has  the  honors  of  field  marshal  accorded 

62055— Proc.N.M.vol.55— 19 40 


626 


PROCEEDINGS  OF  THE  NATIONAL  MUSEUM. 


VOL.  55. 


to  it.  During  the  annual  feast  held  in  its  honor,  January  20,  pilgrims 
from  the  remotest  islands  and  from  across  the  sea  come  to  purify 
their  souls  at  the  shrine  of  the  Holy  Child.”  ^ 29J  by  20  inches. — 

Manila,  Philippine  Islands.  (Cat.  No.  205542,  U.S.N.M.) 

151.  Madonna  of  the  Olive. — Print  on  paper.  Representing  the 
Madonna  with  the  Infant  Jesus,  with  cherubs  fluttering  over  them. 
Inscribed  above  in  Latin,  ‘^Like  a green  olive  tree  in  the  house  of 
God.”  (Psalm  iii;  in  the  Catholic  Bible,  li,  8.)  Below  is  stated, 
in  a colophon  in  Italian,  that  it  is  a ^‘representation  of  the  miraculous 
image  of  the  Most  Holy  Mary  of  the  Olive  which  is  kept  in  the  Church 
of  Picve  Vecchia,  which  was  carried  in  procession  in  Siena  in  1820 
with  a relic  of  the  veil  of  the  same  Virgin.”  11  by  8 inches. — Siena, 
Italy.  (Cat.  No.  179080,  U.S.N.M.) 

152.  Madonna-  of  Intercession. — ^Print  on  paper.  Representing  the 
Madonna  with  the  Infant  crowned.  The  colophon  in  Latin  states 
that  the  original  is  preserved  in  a chapel  of  the  metropolitan  church 
at  Siena  for  the  solemn  supplication  on  Low  Sunday — that  is,  Sunday 
next  after  Easter  {dominica  in  alhis,  the  Sunday  of  white  garments, 
from  the  white  robes  worn  in  early  times  by  those  who  had  been  bap- 
tized just  before  Easter).  14 1 by  lOJ  inches. — Siena,  Italy.  (Cat, 
No.  179081,  U.S.N.M.) 

153.  Madonna,  crowned. — Print  on  paper.  Surrounded  by  float- 
ing cherubs  and  worshiped  on  one  side  by  a monk,  on  the  other  by  a 
nun.  The  colophon  states  that  it  is  a representation  of  the  image 
which  is  venerated  in  the  Church  of  Insigne  Collegiata  of  Provenzano. 
It  was  crowned  in  1681  and  carried  in  procession  on  Low  Sunday  of 
1850  with  relics  of  St.  Bernardine,  St.  Catherine,  and  others.  14|  by 
lOJ  inches. — Siena,  Italy.  (Cat.  No.  179082,  U.S.N.M.) 

154.  Madonna  of  Good  Counsel. — Print  on  paper.  Representing 
the  Madonna  with  the  Infant  crowned,  surrounded  by  cherubs. 
Below  is  a mountain  scenery  with  a church  or  citadel.  The  original 
is,  as  the  colophon  states,  venerated  in  the  Church  of  St.  Leonard  in 
Siena  and  was  carried  in  procession  on  Low  Sunday  of  1833,  together 
with  a relic  of  the  veil  of  Mary  and  the  relics  of  John  the  Baptist,  St. 
Jerome,  St.  Anthony  of  Padua,  and  St.  Eurosia.  15  by  10  inches. — 
Siena,  Italy.  (Cat.  No.  179083,  U.S.N.M.) 

155.  Madonna. — Print  on  paper.  Representing  the  Madonna  in 
a columned  shrine  which  is  supported  by  two  cherubs  and  surmounted 
by  a crown,  orb,  and  cross  which  are  held  by  two  cherubs.  The  whole 
is  surrounded  by  aureole  of  rays  and  framed  in  a wide  arch.  Beneath 
to  the  right  is  a female  saint  holding  a lily  stalk  and  a book;  to  the 
left,  a male  saint  holding  a paten  or  tray.  In  the  upper  corners  are 
deer.  It  is  a representation  of  the  miraculous  image  of  Holy  Mary 
of  Insigne  Collegiata  of  Provenzano  in  Siena.  It  was  crowned  No- 


1 Rev.  Curtin  G.  Roop  in  the  Missionary  Review,  vol.  15  (September,  1902),  p.  685. 


2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  627 


vember  1,  1681,  and  carried  with  solemn  pomp  in  procession  with  a 
relic  of  the  veil  of  Mary,  the  pallium  of  the  patriarch  St.  Joseph,  and 
the  relics  of  Saints  Concittadio,  Bernardino,  Catherine,  Ludovico,  and 
Cristina  on  Low  Sunday  of  1850.  23  by  18  inches.— Siena,  Italy. 

(Cat.  No.  179084,  U.S.N.M.) 

156.  Madonna  of  Grace. — Print  on  paper.  Representing  the  Ma- 

donna with  the  Infant,  both  crowned  in  a frame  which  is  upheld  by 
two  angels,  while  over  it  are  floating  three  cherubs, and  the  whole  is 
inclosed  in  a wide  arch.  The  inscription  states  that  the  original  is 
venerated  in  the  chapel  of  Pope  Alexander  VII  in  the  Sanesi  Metro- 
politana,  and  was  carried  in  solemn  procession  on  Low  Sunday  of 
1860.  21  by  14|  inches. — ^Siena,  Italy.  (Cat.  No.  179085,  U.S.N.M.) 

157.  Madonna. — Print  on  paper.  Representing  the  Madonna  with 
Infant  and  a female  saint  on  either  side.  The  original  is  venerated  in 
the  Church  of  the  Servites  (Servi  Beatae  Mariae  Virginis,  founded  in 
1240)  at  Siena  and  was  carried  in  procession  on  Low  Sunday  of  1817. 
11 J by  8J  inches. — Siena,  Italy.  (Cat.  No.  179086,  U.S.N.M.) 

158.  Madonna  of  the  Rosary. — Print  on  parchment.  Representing 
the  Madonna  with  the  Infant  crowned,  holding  a rosary  and  cross, 
respectively,  and  surrounded  with  15  cameos  depicting  the  15  mys- 
teries of  the  rosary  (for  which  see  below,  p.  630).  3J  by2J  inches. — 
Italy.  (Cat.  No.  179087,  U.S.N.M.) 

159.  Madonna  of  the  Rosary. — ^Print  on  paper.  Representing  the 

Madonna  with  the  Infant  crowned,  both  holding  rosaries,  the  Infant 
also  holding  in  the  right  haiid  the  terrestial  orb  surmounted  by  a 
cross  (symbolizing  the  subjection  of  the  world  to  the  cross).  In  the 
corners  are  cherubs.  The  original  is  venerated  in  the  Church  della 
Contrada  della  Chiocciola  and  was  carried  in  procession  on  Low  Sun- 
day of  1870.  15J  by  11  inches. — ^Italy.  (Cat.  No.  179090,  U.S.N.M.) 

160.  Madonna  of  Devotion. — Print  on  paper.  Representing  the 
Madonna  with  the  Infant  crowned  within  a portal  of  the  renaissance 
style.  In  the  gable  are  a dove  (symbol  of  the  Holy  Ghost)  and  four 
cherubs  in  clouds  from  which  rays  issue,  and  surmounted  by  a crown 
and  cross  which  are  supported  by  two  cherubs.  On  the  sides  are 
cheruhs  holding  lighted  candelabra.  The  original  is  venerated  by 
the  Venerable  Society  of  Maria  de  Portico  della  di  Fontegiusta  and 
was  carried  in  procession,  together  with  relics,  on  Low  Sunday  of 
1818.  llj  by  8i  inches. — Italy.  (Cat.  No.  179088,  IT.S.N.M.) 

161.  Madonna  with  the  Sword  in  Her  Bosom. — Print  on  silk.  In 

allusion  to  Luke  ii,  35.  7|  by  6f  inches. — Italy.  (Cat.  No.  179089, 

U.S.N.M.) 

162.  Madonna  of  the  Immaculate  ConcejAion. — Print  on  paper. 
Representing  the  Madonna  crowned  with  a halo  of  stars  and  a scepter 
in  her  right  hand,  standing  in  an  arch  v/ithin  a portal  of  the  renais- 
sance style.  In  the  gable  are  a dove  and  three  cherubs  in  a circle  of 


628 


PROCEEDINGS  OF  THE  NATIONAL  MVSEEM. 


VOL.  r>5. 


rays  and  surmounted  by  a crown  which  is  held  by  two  floating  cher- 
ubs. The  original  is  venerated  in  the  parochial  Church  of  St. 
Mamiliano  in  the  Valli  suburb  of  Siena,  and  was  carried  in  procession 
on  Low  Sunday  of  1849  together  with  relics.  17J  by  12J  inches. — 
Siena,  Italy.  (Cat.  No.  179091,  U.S.N.M.) 

163.  Satin  'print. — Containing,  in  Italian,  a sonnet,  commemo- 
rating the  annual  festival  of  John  the  Baptist,  celebrated  by  a society 
named  after  him.  22  by  19J  inches.- — Siena,  Italy.  (Cat.  No. 
152247,  U.S.N.M.) 

164.  St.  Dominic. — Print  on  silk  St.  Dominic,  born  at  Cartha- 
gena,  Spain,  in  1170,  died  at  Bologna,  Italy,  in  1221,  was  the  founder 
of  the  order  of  the  Dominicans  or  Preaching  Monks  in  1216.  He  is 
represented  with  his  emblem,  the  lily  stalk.  13  by  9-^-  inches. — 
Italy.  (Cat.  No.  152248,  U.  S.  N.  M.) 

165.  St.  Bernardine  of  Siena. — Print  on  paper.  St.  Bernardine, 
1380-1444,  was  a member  of  the  Minorites  of  St.  Francis,  a mission- 
ary and  reformer.  He  is  often  called  the  ‘^Apostle  of  Italy,”  and  is 
one  of  the  most  popular  saints  of  Italy,  especially  of  his  native  city^ 
Siena.  5f  by  4J  inches. — Siena,  Italy.  (Cat.  No.  179097,  U.S.N.M.) 

166.  St.  Loyola. — Print  on  paper.  From  a print  by  Bolswert  after 
a painting  by  Bubens.  St.  Ignatius  Loyola,  born  in  Loyola,  Spain^ 
in  1491,  died  in  Rome,  Italy,  in  1556,  was  the  founder  of  the  Society 
of  Jesus.  15J  by  lOJ  inches. — Italy.  (Cat.  No.  179096,  U.  S.  N.  M.) 

167.  Suarez. — Print  on  paper.  Francisco  Suarez,  born  in  Granada,. 
Spain,  in  1548;  died  in  Lisbon,  Portugal,  in  1617,  was  a noted  Jesuit 
theologian  and  scholastic  philosopher.  12  by  8J  inches. — Italy. 
(Cat.  No.  179094,  U.S.N.M.) 

168.  Plessis. — Colored  print  on  paper.  Joseph  Octave  Plessis,. 

1763-1822,  was  bishop  of  Quebec  from  1806  to  1822.  13J  by  O^- 

inches.  (Cat  No.  179095,  U.S.N.M.) 

169.  Twenty-four  plates. — Depicting  the  revelations  and  visions  of 
Joannes  de  Malta,  a native  of  the  Provence,  France,  founder  of  the 
order  of  the  Trinitarians  for  the  redemption  of  captives  {ordo  Sanctae 
Trinitatis  et  de  redemptione  captivorum)  in  1198.  Printed  in  Paris, 
France,  in  1633,  bound  in  vellum.  14f  b^^  lOJ  inches.  (Cat.  No. 
28528,  U.S.N.M.) 

170.  Theological  disputation. — Print  on  paper.  It  was  held  in 

Siena  in  November,  1781.  24  by  21  inches. — Siena,  Italy.  (Cat. 

No.  179099,  U.S.N.M.) 

171.  Philosophical  disputation. — Print  on  paper.  It  took  place  at 

Siena  in  April,  1790.  36J  by  20J  inches. — Siena,  Italy.  (Cat.  No. 

No.  179100,  U.S.N.M.) 

172.  Bronze  doors  of  the  cathedral  of  Pisa. — Three  leaves  with  one 
of  Italian  text  giving  the  histoiy  and  description.  The  bas-reliefs 
of  the  doors,  which  depict  the  lives  of  Mary  and  Jesus,  were  executed 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  629 


by  the  Dominican  Padre  Domenico  Partigiani  and  Angelo  Serrano 
after  the  designs  of  Giovanni  da  Bologna  and  others  about  1602. 
23  by  18  inches.- — Italy.  (Cat.  No.  179093,  U.S.N.M.) 

173.  Wooden  die  for  pictures  of  the  Madonna. — Z\  by  2f  inches. — 
Italy.  (Cat.  No.  179064,  U.S.N.M.) 

174.  Leaden  Die  for  the  Picture  of  Saint  Romuald  (about 
950-1027)  founder  of  the  Gamaldolese  order. — Oval,  24  by  1|  inches. — • 
Ital}^.  (Cat.  No.  179065,  U.S.N.M.) 

RELIGIOUS  MEDALS. 

Religious  medals  have  the  object  to  commemorate  persons  (Christ, 
^»Iary,  saints,  and  angels)  and  historical  events  (dogmatic  definitions, 
miracles,  anniversaries,  dedications,  etc.).  They  are  issued  by 
various  ecclesiastical  authorities  and  by  confraternities  for  badges 
and  decoration  of  their  members.  They  are  worn  by  the  faithful 
and  believed  to  be,  by  reason  of  their  having  been  blessed  by  a priest, 
a means  of  grace  and  to  possess  protective  virtues. 

175.  Out  of  about  350  of  such  medals  in  the  collection  of  the 
United  States  National  Museum,  16  are  reproduced  on  the  plate. 
They  represent — 1,  St.  Benedict  (480-543),  founder  of  the  order  of 
the  Benedictines;  2,  St.  Joseph  and  the  Infant  Jesus;  3,  the  Virgin 
with  the  Infant;  4,  the  Virgin,  surrounded  by  rays;  5,  Leo  XIII, 
Pope,  1878-1903;  6,  the  sacred  hearts  of  the  Holy  Family  (Jesus, 
Mary,  Joseph);  7,  head  of  St.  Anastasius,  monk  and  martyr;  8,  St. 
Benedict;  9,  St.  Louis  de  Gonzaga  (1568-1591),  holding  a crucifix 
and  a skull;  10,  the  Trinity;  11,  the  Holy  Family;  12,  St.  Francis 
of  Assisi  (1182-1226),  founder  of  the  order  of  Franciscans;  13,  Virgin 
and  the  Infant,  enthroned;  14,  arms  of  the  Capuchins  of  Milan, 
Italy,  in  1856;  15,  St.  Joseph  with  the  Infant;  16,  the  Virgin  with  the 
Infant,  crowned. — Italy.  (Plate  83,  Cat.  No.  179077,  U.S.N.M.) 

VOTIVES. 

Votive  offerings  are  set  up  in  churches  or  chapels  as  a thanks- 
giving for  some  signal  answer  to  prayer,  resulting  in  the  deliverance 
from  peril  or  the  cure  of  disease.  Usually  a likeness  of  the  part  of 
the  body  healed,  in  silver  or  some  other  material,  is  put  up.  The 
custom  was  also  in  vogue  among  the  ancient  Greeks  and  Romans. 

176.  Votive  offerings. — Made  of  silver  foil.  Consisting  of  models 
of  two  hearts,  an  arm,  a pair  of  e3"es,  a pair  of  breasts,  a praying 
woman,  and  a child. ^ — Italy.  (Cat  No.  179069,  U.S.N.M.) 

177.  Votive  offerings. — Made  of  hollow  wax.  Representing  a 
pair  of  eyes,  an  arm,  and  the  foot  of  a horse.^ — Seville,  Spain.  (Cat. 
No.  167064,  U.S.N.M.) 

178.  Votive  offering. — Made  of  silver  amalgam  in  form  of  a tower. 
Height,  2J  inches. — Potisi,  Bolivia.  (Cat.  No.  179104,  U.S.N.M.) 


630 


PROCEEDINGS  OF  THE  NATIONAL  MV  SEEM. 


VOL.  55. 


ROSARIES. 

The  rosary  (from  the  Middle  Latin,  rosarium,  properly  a garland 
of  roses)  is  a string  of  beads,  generally  formed  into  a circlet  or  loop, 
used  for  keeping  count  of  prayers  or  formulas  repeated  in  religious 
devotions.  The  materials  of  which  it  is  made  range  from  natural 
berries  or  common  wood  to  costly  metals  and  precious  stones.  Such 
devices  to  assist  the  memory  in  complex  repetitions  occur  also  among 
the  Hindus,  Buddhists,  and  Mohammedans.  In  fact,  it  can  be  said 
that  some  form  or  other  of  rosary  is  used  by  about  three-fourths  of 
the  world’s  inhabitants.  The  Roman  Catholic  rosary  in  its  present 
form  and  the  method  of  devotion  performed  with  its  aid  is  ascribed 
to  St.  Dominic  (1170-1231),  the  founder  of  the  Dominican  order,  to 
whom,  according  to  legend,  the  Virgin  Mary  handed  a rosary  from 
heaven  as  a weapon  against  heretics  and  infidels.  But  both  the 
practice  of  often  repeating  prayers  and  the  employment  of  some 
expedient  for  recording  the  number  of  repetitions  can  be  traced  to  a 
much  earlier  date.^ 

The  ordinary  Catholic  rosary  consists  of  150  small  beads,  divided 
into  decades  by  15  larger  beads.  To  these  beads,  forming  a chaplet, 
is  usually  attached  a pendant,  consisting  of  a crucifix,  one  large  and 
three  small  beads.  The  devotion  begins  with  the  invocation.  ‘‘In 
the  name  of  the  Father,  the  Son,  and  the  Holy  Ghost.”  Then  the 
Apostles’  Creed  is  recited  on  the  crucifix,  a paternoster  (the  Lord’s 
Prayer)  on  the  larger  bead,  and  three  Ave  Maria  (Hail  Mary)  on  the 
three  smaller  beads,  closing  with  the  Gloria  (Glory  be  to  the  Father, 
to  the  Son,  and  to  the  Holy  Ghost”).  This  forms  the  introduction 
to  the  rosary  proper.  Then  follow  decades  of  aves,  counted  by  the 
smaller  beads,  each  decade  preceded  by  a paternoster,  for  which  a 
larger  bead  is  used,  and  followed  by  a gloria.  The  150  aves  cor- 
respond to  the  number  of  Psalms,  hence  from  an  early  period  the 
devotion  was  called  ‘^Our  Lady’s  Psalter.”  For  each  decade  a 
subject,  or  mystery,”  in  the  life  of  Christ  and  Mary  is  set  for  medi- 
tation, the  15  mysteries  being  divided  into  five  joyful,  five  sorrowful, 
and  five  glorious.  The  five  joyful  mysteries  are:  The  annunciation 
(Luke  i,  26),  the  visitation  (Luke  i,  39),  the  nativity  (Luke  ii),  the 
presentation  (Luke  ii,  21),  and  the  finding  in  the  temple  (Luke  ii, 
41).  The  five  sorrowful  mysteries  are:  The  agony  in  Gethsemane 

(Matthew  xxvi,  36),  the  scourging  (Matthew  xxvii,  26),  the  crowning 
with  thorns  (Matthew,  xxvii,  29),  the  carrying  of  the  cross  (John 
xix,  17),  and  the  crucifixion  (Matthew  xxvii,  35).  The  five  glorious 
mysteries  are:  The  resurrection  (Matthew  xxviii),  the  ascension 

(Luke  xxiv,  50),  the  descent  of  the  Holy  Ghost  (Acts  ii),  the  assump- 

1 For  a fuller  discussion  of  the  subject  see  The  collection  of  rosaries  in  the  United  States  National  Museum, 
by  I.  M.  Casanowicz,  Pro.c.  U.  S.  Nat.  Mus.,  vol.  36,  pp.  333-360,  with  pis.  21-30,  Washington,  Government 
Printing  Office,  1909. 


22^1.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  631 


tion  of  Mary  into  heaven,  and  the  coronation  of  Mary  in  heaven 
(the  two  last  mysteries  are  accepted  on  the  authority  of  tradition). 
The  rosary  most  in  use,  however,  consists  of  five  decades  for  the  aves 
and  five  larger  beads  for  the  paters,  called  the  ^desser  rosary.” 
Otherwise  it  is  arranged  in  the  same  way  and  recited  in  the  same 
manner  and  order  as  the  ^‘greater”  or  ^duH”  rosary.  Tlie  entire 
devotion  of  15  decades  may  be  said  on  it  by  counting  it  three  tim.es. 

Besides  this  Dominican  rosary,”  which  is  used  in  common  by 
all  Catholics,  there  are  other  varieties  of  chaplets  used  by  particular 
religious  bodies  or  for  special  devotions.  So  the  chaplet  of  St. 
Bridget  of  Sweden  (about  1303-1373),  which  consists  of  63  beads 
for  the  aves,  to  commemorate  the  63  years  which  Mary  is  supposed 
to  have  lived;  the  crown  of  our  Lady,  in  use  among  the  Francis- 
cans, has  72  aves,  based  on  another  tradition  of  Mary’s  age;  and 
others  more. 

The  Feast  of  the  Rosary  is  observed  on  the  first  Sunday  in  October 
as  the  anniversar}^  of  the  victory  of  the  Christians  over  the  Turks 
in  the  naval  battle  at  Lepanto,  near  the  Eohinades  Islands,  on 
October  7,  1571,  which  is  attributed  to  the  power  of  the  devotion 
of  the  rosary. 

Rosaries  are  usually  blessed  with  prayers  and  holy  water  by  some 
duly  authorized  ecclesiastical  person  and  become  thereby  sacramen- 
tals — that  is,  instruments  of  grace. 

179.  Eosary  of  mother-of-yearl. — ^The  full  or  greater  Dominican 
rosary.  The  15  decades  are  divided  b}^  the  insertion  in  two  places 
of  four  extra  beads,  one  large  and  three  small  ones,  into  three  divi- 
sions of  five  decades  each.  The  chain  on  vrhich  the  beads  are  strung, 
as  also  the  figure  of  Christ  on  the  crucifix,  are  of  German  silver. 
Length,  7 feet. — Italy.  ( ?)  (Plate  84,  Cat.  No.  288983,  U.S.N.M.) 
Gift  of  Miss  Louise  Salter  Codwise. 

180.  Rosary. — Made  of  the  seeds  of  the  Virginia  fringe  tree. 
(CJiioantlius  virginica) . The  lesser  Dominican  rosary  of  five  decades 
The  cross  is  of  olive  vnod  from  Mount  Olive,  bound  in  Japanese 
silver.  Of  the  same  metal  are  also  the  figure  of  Christ  and  the  chain 
on  which  the  beads  are  strung.  Length,  53  inches. — Washington, 
District  of  Columbia.  (Plate  85,  Cat.  No.  275575,  LT.  S.  N.  M.)  Gift 
of  Frederick  J.  Braendle. 

181.  Rosary. — Made  of  the  Kentucky  coffee  beans  (Gymnocladus 
dioica).  The  lesser  Dominican  rosary  of  five  decades.  The  cross  of 
olive  wood  is  bound  in  Japanese  silver.  Of  tlie  same  metal  is  the 
figure  of  Christ  and  the  other  appurtenances  of  the  crucifix — nameJy 
the  title  (/  N R I)  and  the  rhomb-shaped  nimbus  above  the  figure, 
the  skull  and  crossbones  (for  the  significance  of  wiiich  see  above 
p.  619)  underneath,  and  the  crown  of  thorns  on  the  back  of  the 


632 


PROCEEDINGS  OF  THE  NATIONAL  AIUSEUM. 


VOL.  55. 


crucinx.  Lengthy  71  inches. — Washington,  District  of  Columbia. 
(Cat.  Mo.  302930,  U.S.N.M.)  Gift  of  Frederick  J.  Braendle. 

182.  Rosary. — Made  of  ebony  beads.  The  full  or  greater  Domini- 

can rosary  of  15  decades.  The  cross,  which  is  of  the  same  material 
as  the  beads,  is  bound  in  silver-plated  nickel,  with  the  figure  of 
Christ  on  one  side,  amd  a crown  of  thorns  with  a burning  heart  inside 
of  it,  of  the  same  metal,  on  the  other.  Length,  6 feet  inches. — 

Italy.  (Cat.  No.  179075,  U.S.N.M.) 

183.  Rosary. — Made  of  glass  and  composition  beads.  The  full 
or  greater  Dominican  rosary  of  15  decades.  The  beads  for  the  aves 
are  of  glass,  while  those  for  the  paters,  as  also  the  three  introductory 
beads,  are  of  composition.  Length,  4 feet  4 inches. — Italy.  (Cat. 
No.  179075,  U.S.N.M.) 

184.  Rosary. — ^Made  of  mahogany  beads.  The  lesser  Dominican 
rosary  of  five  decades.  On  each  of  the  beads  are  carved  four  sets 
of  double  circles,  or  ^^eyes.^’  The  cross  (in  place  of  a crucifix) 
is  likewise  formed  of  beads.  Length,  5 feet  3 inches. — Italy.  (Cat. 
No.  179075,  U.S.N.M.) 

185.  Rosary. — Made  of  olive-wood  beads,  carved  with  intersecting 
circles.  The  lesser  Dominican  rosary  of  five  decades.  In  place 
of  the  crucifix  is  a bronze  medal,  three-fourths  of  an  inch  in  diameter, 
with  the  bust  of  Pius  IX  and  the  date  24  (the  number  of  years  of 
his  reign)  on  the  obverse;  on  the  reverse  is  the  figure  of  the  Pope, 
in  full  pontificals,  on  his  throne,  attended  by  cardinals,  and  the 
Latin  inscription,  Ecumenical  Council,  1869,’^  referring  to  the 
Vatican  Council  which  was  opened  in  that  year.  This  rosary  was 
blessed  by  Pius  IX  in  1873.  Length,  37  inches. — Rome,  Italy. 
(Plate  86,  fig.  1,  Cat.  No.  168294,  U.S.N.M.)  Collected  by  Gen. 
John  A.  Halderman. 

186.  Rosary. — Made  of  ivory  beads.  The  lesser  Dominican 
rosary  of  five  decades.  The  beads  for  the  aves  are  faceted,  while 
the  pater  beads  are  barrel-shaped.  In  place  of  the  crucifix  is  a 

^copper  medal,  1^  inches  in  diameter,  having  on  the  obverse  the 
image  of  the  Virgin  with  the  Infant  Jesus  crowned;  on  the  reverse, 
a much  effaced  Latin  inscription.  Length,  40  inches. — Italy. 
(Plate  86,  fig.  2,  Cat.  No.  179075,  U.S.N.M.) 

187.  Rosary. — Made  of  Job^s  tears.  The  lesser  Dominican  rosary 
of  five  decades.  The  cross  of  ebony  is  bound  in  brass  and  has  the 
same  appurtenances  as  the  one  described  under  No.  182.  Length, 
33  inches. ^ — ^Italy.  (Plate  86,  fig.  3,  Cat.  No.  179075,  U.S.N.M.) 

188.  ifomry.— Made  of  composition.  Consisting  of  seven  sets, 
each  having  seven  beads.  This  rosary  is  used  in  honor  of  the  seven 
sorrows  of  Mary — namely,  the  prophecy  of  Simon  (Luke  ii,  35); 
the  flight  into  Egypt  (Matthew  ii,  13);  the  losing  of  Jesus  in  the 
temple  (Luke  ii,  48);  seeing  Jesus  carrying  the  cross  (John  xix,  17); 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  633 


standing  under  the  cross  (John  xix,  25);  the  piercing  of  Jesus’  side 
with  the  lance  (John  xix,  34);  and  the  lowering  of  Jesus’  body  into 
the  sepulcher  (Matthew  xxvii,  60).  In  place  of  the  pater  beads 
are  seven  brass  plaques,  representing  each  on  one  side,  Mary  with 
seven  swords  piercing  her  heart;  on  the  other,  the  incidents  in  Christ’s 
life  enumerated  above.  The  cross  is  formed  of  brass.  Length,  33 
inches. — Italy.  (Plate  86,  fig.  4,  Cat.  No.  179075,  U.S.N.M.) 

189.  Rosary. — Made  of  blue  glass  beads.  The  lesser  Dominican 
rosary  of  five  decades.  The  five  pater  beads  are  of  the  seeds  of  the 
Abrus  'precatorius  (called  ^Tn*abs’  eyes,”  or  jumble  beads”).  In- 
closed in  an  egg-shaped  box  of  bone.  Length,  12  inches  ; diam.eters 
of  the  box,  If  inches. — Madrid,  Spain.  (Plate  86,  fig.  5,  Cat.  No. 
167020,  U.S.N.M.) 

190.  Rosary. — Of  green  glass  beads.  The  lesser  Dominican  rosary 
of  five  decades.  In  place  of  the  crucifix  is  an  oval  brass  plaque  bear- 
ing the  image  of  the  Virgin  of  Guadelupe  of  Mexico.  The  paters  are 
marked  by  double  beads  of  the  same  size  and  color  as  those  of  the 
aves.  Length,  26  inches. — Mexico.  (Cat.  No.  179075,  U.  S.  N.  M.) 

191.  Rosary. — Of  wooden  beads,  painted  black.  The  lesser 
Dominican  rosary  of  five  decades.  Worn  at  the  girdle  by  members 
of  the  Fraternity  of  Misericordia  {Arcicor^froiernita  de  Santa  Maria 
della,  Misericordm)  in  Italy.  Length,  50  inches. — Pisa,  Italy. 
(Cat.  No.  153893,  U.S.N.M.) 

192.  Rosary. — Made  of  composition.  The  Franciscan  rosary  of 
seven  decades.  This  rosary  is  used  for  the  devotion  in  honor  of  the 
seven  mysteries  in  the  life  of  Mary — namely,  the  conception  (Luke  i, 
26) ; the  visitation  (Luke  i,  39) ; the  nativity  (Luke  ii) ; the  adoration  of 
the  magi  (Matthew  ii);  the  presentation  (Luke  ii,  21);  the  finding  in 
the  temple  (Luke  ii,  41);  and  the  apparition  after  the  resurrection  to 
Mary.  The  rosary  is  provided  with  tv/o  rings  for  suspending  from 
the  girdle.  Length,  6 feet,  8 inches.— Italy.  (Plate  87,  fig.  1,  Cat. 
No.  179075,  U.S.N.M.) 

193.  Rosary. — Of  black  glass  beads.  The  lesser  Dominican  rosary 
of  five  decades.  An  oval  bronze  medal.  If  and  If  inches  in  diameter, 
which  takes  the  place  of  the  crucifix,  has  on  one  side  the  bust  of  St. 
Ignatius  Loyola  (1491-1556),  the  founder  of  the  Society  of  Jesus, 
on  the  other,  the  figure  of  St.  John  of  Nepomuk,  the  patron  saint  of 
Bohemia,  who  was  martyred  in  1393.  The  rosary  is  provided  with 
two  rings  to  be  suspended  from  the  girdle.  Length,  55  inches. — 
Italy.  (Plate  87,  hg.  2,  Cat.  No.  179075,  U.S.N.M.) 

194.  Rosary. — Of  wooden  beads.  Used  in  the  devotion  of  the 
crown  of  our  Lord.  Consists  of  33  beads  for  the  paters,  to  com- 
memorate the  years  of  Christ’s  life  on  earth,  and  five  for  the  aves, 
in  honor  of  the  five  vvoimds.  The  crucifix  is  substituted  by  a brass 
medal,  14  inches  in  diameter,  engraved  with  the  instruments  of  the 


634 


PROCEEDINGS  OF  THE  NATIONAL  MUSEUM, 


VOL.  55. 


passion  and  the  Latin  words,  ^‘The  passion  of  Christ  save  us,  the  pas- 
sion of  Christ  comfort  me.'’  Between  the  ave  beads  is  inserted  a 
piece  of  bone,  IJ  inches  high,  carved  with  the  faces  of  Christ  and 
Mary,  and  a skull.  Length,  47  inches.  Italy.  (Plate  87,  fig.  3, 
Cat.  No.  179075,  U.S.N.M.) 

195.  Rosary. — Made  of  composition  beads.  Consisting  of  three 
sets  of  nine  beads  each,  separated  by  an  oval  brass  plaque,  which 
has  on  one  side  a representation  of  the  Trinity,  on  the  other,  the 
Gloria  in  Latin.  Length,  21  inches. — Italy.  (Plate  87,  fig.  4,  Cat. 
No.  179075,  U.S.N.M.) 

RELIGIOUS  ORDERS. 

196.  Jlahit  of  a Benedictine  monk. — Consisting  of  a cassock,  a 
scapular  (that  is,  a piece  of  cloth  passing  over  the  head  and  hanging 
down  over  the  shoulders),  and  a cowl.  The  order  of  Benedictine 
monks  was  founded  by  St.  Benedict  of  Nursia,  Italy,  in  529.  It  was 
the  first  monastic  order  established  in  the  Occident,  and  its  organiza- 
tion became  the  model  upon  which  ail  the  monasteries  of  the  western 
church  were  formed.  Common  to  all  monastic  orders  are  the  three 
vows  of  obedience,  chastity,  and  poverty.  The  Benedictine  monks 
w’^ere  bound  by  their  rule  to  cultivate  the  land  and  to  read  and  copy 
manuscripts. — Italy.  (Cat.  No.  154312,  U.S.N.M.) 

197.  Hahit  of  Dominican  monk. — Consisting  of  a cassock,  scapular, 
and  cowl  of  white  wool.  The  Dominican  order  was  founded  by  St. 
Dominic,  called  de  Guzman,  in  1204.  Its  chief  original  purpose 
was  to  preach,  especially  to  infidels  and  heretics.  It  is,  therefore, 
called  tlie  ^‘preaching  order.”  The  Dominicans  are  also  called 
Black  Friars,  because  of  the  black  cloak  worn  by  them  out  of  doors. — 
Italy.  (Cat.  No.  154312b,  U.S.N.M.) 

198.  Habit  of  a Caimcliin  monk. — Consisting  of  upper  garment, 
cowl  of  brown  cloth,  and  rope  girdle.  The  Capuchins  are  a branch 
of  the  Franciscan  order,  established  by  Matteo  di  Bassi,  of  Urbino, 
in  1526.  They  derive  their  name  from  the  long-pointed  capuche,  or 
cowl,  which  is  the  distinguishing  mark  of  their  dress.  Their  regula-’ 
tions  oblige  them  to  live  by  begging,  and  not  to  use  gold,  silver,  or 
silk,  even  in  the  decoration  of  their  churches  and  altars. — Italy. 
(Cat.  No.  154312,  U.S.N.M.) 

199.  Costume  of  th  e Fraternity  of  the  Misericordia. — Consisting  of  a 
loose  hooded  cassock  of  black  stuff,  held  by  a girdle  from  which  a 
rosary  is  suspended,  and  a broad-brimmed  felt  hat.  The  Fraternity 
of  the  Misericordia  {Pia  Arciconfraternita  de  Santa  Maria  della 
Misericordm)  is  believed  to  have  been  instituted  in  1244  and  is 
surviving  to  the  present  day  in  many  cities  and  towns  of  Italy. 
Besides  taking  care  for  the  burial  and  the  performance  of  the  funeral 
rites  of  the  dead  and  friendless  its  members  also  discharge  the  func- 
tion of  an  ambulance  corps,  dealing  with  accidents  as  they  occur  and 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  635 


carrying  the  sick  to  the  hospitals.  Its  membership  is  recruited  from 
all  ranks  of  society,  and  the  active  work  is  carried  on  by  the  members 
in  person.  The  funds  needed  for  the  work  is  obtained  by  mute 
appeals  of  the  members  in  public  places  and  at  the  doors  of  churches, 
for  which  they  hold  out  an  aim  box  and  from  the  fees  of  the  member- 
ship. When  on  duty  the  members  wear  a costume  of  the  cheapest 
material  which  completely  envelopes  and  disguises  them;  even  the 
face  is  hidden  by  a covering  in  which  only  two  holes  are  left  for  the 
eyes. — Pisa,  Italy.  (Plate  88,  Cat.  No.  153893,  U.S.N.M.) 

200.  Devotions  in  Honor  of  the  Stigmata  and  Festival  of  St.  Francis 
of  Assisi. — Printed  in  1740  at  Pome.  St.  Francis,  born  1182,  died 
1226,  in  ^issisi,  Italy,  was  the  founder  of  the  Franciscan  order. 
According  to  tradition  he  received,  in  1224,  while  absorbed  in  prayer 
and  contemplation  on  Monte  Alverno,  the  stigmata  of  Christ— that  is, 
an  imitation  of  the  wounds  of  Christ  was  miracuously  impressed  upon 
his  body.  He  was  canonized  in  1228. — Rome,  Italy.  (Cat.  No. 
2:14724,  U.S.N.M.) 

201.  Disciplinary  girdle. — Made  of  wire.  It  is  sometimes  worn  by 
monks  and  other  devout  persons  as  a means  of  mortification  and  of 
subduing  the  passions.  Length,  3 feet. — Italy.  (Plate  89,  fig.  1, 
Cat.  No.  179067,  U.S.N.M.) 

202.  Disciplinary  scourge. — Made  of  twisted  wire.  They  are  em- 
ployed by  monks  and  other  devout  persons  as  a means  of  mortifi- 
cation and  of  subduing  the  passions. — Italy.  (Plate  89,  fig.  2, 
Cat.  No.  152252,  U.S.N.M.) 

SCAPULAKS, 

Scapular  (from  middle  Latin  scapularis,  pertaining  to  the  shoulders, 
Latin  scapulae j shoulder  blades,  shoulders),  is  primarily  the  name 
given  to  a portion  of  the  monastic  habit  in  certain  religious  orders, 
consisting  of  a long  narrow  strip  of  cloth  which  passes  over  the  head, 
covering  the  shoulders  and  hanging  down  in  front  and  behind.  With 
the  growth  of  fraternities  of  lay  people  affiliated  with  the  religious 
orders  the  practice  grew  up  among  devout  persons  of  wearing  under 
the  ordinary  dress  a small  scapular  consisting  of  two  little  pieces  of 
cloth  adorned  with  a picture  of  the  Virgin,  a cross  or  some  other 
religious  symbol  and  joined  by  strings,  in  honor  of  Mary.  Certain 
religious  obligations  and  exercises  and  sundry  spiritual  privileges, 
such  as  indulgences,  are  attached  to  the  wearing  of  it.  The  scapular 
was  brought  into  use  in  the  thirteenth  century  by  St.  Simon  Stock, 
an  Englishman,  general  of  the  Carmelite  Order. 

203.  Scapular. — Consisting  of  two  pieces  of  brown  cloth,  measuring 
by  3J  inches,  one  of  which  is  embroidered  with  a shield,  crown, 

and  crosses;  the  other  with  a pelican,  the  S3^mbol  of  Christ  (see 
above,  p.  618),  and  connected  b}^  strings. — Italy.  (Cat.  No.  179072, 
U.S.N.M.) 


636 


PROCEEDINGS  OF  THE  NATIONAL  MVSEVM. 


VOL.  55. 


204.  Scapular. — Consisting  of  two  pieces  of  cloth,  stamped  with 
the  figures  of  Mary  and  other  saints,  and  connected  by  strings. 
Measurements,  2 by  If  inches. — Italy.  (Cat.  No.  179073,  U.S.N.M.) 

205.  Scapular. — Consisting  of  two  pieces  of  brown  cloth,  measuring 
2f  by  IJ  inches,  stamped  with  the  figure  of  Mary  crowned,  with  the 
infant  Jesus,  both  holding  scapulars,  with  cherubs  above  and  below 
and  the  words  Na.  Sa.  del  Carmen,  our  Lady  of  Carmen  ( ? Carmel). — 
Italy.  (Cat.  No.  179074,  U.S.N.M.) 

206.  Scapular. — Consisting  of  two  pieces  of  cotton  cloth,  measuring 
24  by  2 inches,  one  of  which  is  stamped  on  one  side  with  the  figure 
of  Christ  with  a burning  heart;  on  the  other,  with  the  figure  of  a saint 
and  an  ostensory.  The  other  is  stamped  on  one  side  with  the  figure 
of  Mary  with  a burning  heart;  on  the  other,  with  *the  figure  of  a 
female  saint. — Manila,  Philippine  Islands.  (Cat.  No.  216990, 
U.S.N.M.) 

MISCELLANEOUS. 

207.  Fish. — Made  of  metal.  On  one  side  is  a Greek  cross,  on  the 
other  the  Christ  monogram  in  relief.  With  a chain  for  suspension. 
The  form  of  a fish  was  a favorite  symbol  on  the  early  Christian 
monuments,  alluding  to  the  waters  of  baptism;  also  because  the 
initial  letters  of  the  Greek  word  for  fish  contained  the  confession 
^Mesus  Christ,  Son  of  God,  Saviour.’’  Length,  9 inches. — Italv. 
(Cat.  No.  179010,  U.S.N.M.) 

208.  Olive  palm. — Palm  leaf  combined  with  an  olive  branch.  In 
some  churches  in  Italy  it  is  blessed  by  the  priest  on  Palm  Sunday 
and  sold  at  the  church  door.  Protective  properties  are  attributed  to 
it,  and  it  is  kept  over  the  bed  till  the  following  year.  This  specimen 
w^as  blessed  at  the  Santa  Felicita  Church  in  Florence,  in  1892.  Length, 
2 feet  5 inches. — ^Fiorence,  Itah^  (Cat.  No.  179076,  U.S.N.M.) 

209.  Certificate  of  indulgence. — Manuscript  written  on  vellum. 
Granted  by  Pope  Alexander  VIII  (1689-1691),  on  March  20,  1690,  to 
the  Church  of  the  Fraternity  of  Holy  Intercession,  in  Siena,  Italy. 
Indulgences  are  granted  by  the  Roman  Catholic  Church  for  the  re- 
mission of  the  temporal  punishment  due  to  sin,  after  the  removal  of 
guilt  and  eternal  punishment  of  sin  in  the  sacrament  of  penance,  and 
which  must  be  discharged  either  in  this  life  or  after  death  in  purgatory. 
The  recipient  must  be  in  a state  of  grace,  and  has  to  perform  certain 
good  works,  as  giving  of  alms,  fasting,  attending  mass,  making 
pilgrimages,  etc.  By  way  of  intercession,  indulgences  may  be  applied 
by  the  recipient  to  shorten  the  sufferings  of  souls  in  purgatory. 
Measurements,  154  bv  54  inches. — Siena,  Italy.  (Cat.  No.  214723, 
U.S.N.M.) 

210.  Poppad  hull. — Manuscript,  vuitten  on  parchment,  dated  1781, 
with  a leaden  seal,  Iiaviiig  on  one  side  the  busts  of  SS.  Peter  and  Paul; 
on  the  other,  the  name  Pius  VII  (Pope  1775-1799),  attached  by  a 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  637 


cord  of  yellow  silk.  A bull  is  a document  issued  by  a pope.  The 
name  is  derived  from  the  Latin  hulla,  a bubble  floating  upon  water; 
then  a boss,  a circular  plate.  In  course  of  time  it  came  to  be  applied 
to  the  leaden  seals  with  which  papal  and  royal  documents  were 
authenticated  in  the  Middle  Ages,  and  by  a further  development  the 
name  from  designating  the  seal  was  eventually  attached  to  the  docu- 
ment itself.  The  seal  has  always  on  one  side  a representation  of  the 
Apostles  Peter  and  Paul  on  the  other  the  name  of  the  reigning  Pope, 
and  is  attached  by  a silken  cord  if  it  be  a “buU  of  grace,  and  by  one 
of  hemp  if  a ^Tull  of  justice.’’  Measurements  of  the  parchment,  26| 
by  32  inches;  diameter  of  the  seal,  If  inches. — Italy.  (Cat.  No. 
179078,  U.S.N.M.) 

211.  Leaden  stam])  of  Pius  If  Poj^e  Hd 8-1464. — On  one  side  are 
represented  the  heads  of  SS.  Peter  and  Paul;  on  the  other  is  the 
name  Pius  Papa  II.  Diameter,  1^^  inches. — Italy.  (Cat.  No.  179105, 
U.S.N.M,) 

212.  Leaden  stamp  of  Clement  Xf  Pope  1700-1721 . — On  one  side 
are  the  busts  of  SS.  Peter  and  Paul,  with  a cross  between  them;  on  the 
other,  Clemens  Papa  XI,  with  a rayed  cross  above.  Diameter, 
inches. — Italy.  (Cat.  No.  179106,  U.S.N.M.) 

213.  Leaden  stamp  of  Clement  XIII,  Pope  1758-1769. — On  one  side 
are  the  busts  of  SS.  Peter  and  Paul,  with  a cross  between  them;  on 
the  other,  Clemens  Papa  XIII,  with  a rayed  cross  above.  Diameter, 
If  inches. — Italy.  (Cat.  No.  179107,  U.S.N.M.) 

214.  Pontifical  album.. — Consisting  of  12  colored  pictures,  showing 
the  Roman  Catholic  hierarchy  and  papal  attendants. — Rome,  Italy. 
(Cat.  No.  179103,  U.S.N.M.) 

215.  Pontifical  album. — Consisting  of  12  colored  pictures,  showing 
the  officials  and  attendants  of  the  papal  court.— Rome,  Italy.  (Cat. 
No.  179104,  U.S.N.M.) 

216.  Wooden  cas^.— Gilded  and  decorated  with  the  papal  arms. 
Height,  9i  inches;  length,  12  inches;  diameter,  51  inches. — Italy. 
(Cat.  No.  152243,  U.S.N.Mi) 

217.  Wooden  oval  tablet. — Carved  round  the  edge  with  leaf  pattern, 
and  in  the  center  with  the  letters  J H S (Jesus  Jiominum  salvator — 
Jesus  Saviour  of  Mankind)  in  relief.  Diameters,  15  and  11  inches. — 
Italy.  (Cat.  No.  179066,  U.S.N.M.) 

218.  Terra-cotta  candlestick. — From  the  shaft  in  the  center  branch 
out  four  arms.  With  fine  moldings.  Height,  9^  inches;  diameter 
of  the  base,  7^  inches.- — Italy.  (Cat.  No.  152245,  U.S.N.M.) 

219.  Terra-cotta  lamp. — In  the  center  of  the  top  is  the  Christ 
monogram  IK.  in  relief,  while  round  the  edge  are  circles,  enclosins:: 
each  a cross,  alternating  with  loops.  Height,  IJ  inches;  length,  4J 
inches. — From  the  Catacombs  of  Rome,  Italy.  (Cat.  No.  152246, 
U.S.N.M.) 


638 


PROCEEDINGS  OP  THE  NATIONAL  MVSEVM. 


VOL.  55, 


220.  Terra-cotta  lamjL — On  the  top  the  Christ  monogram  in  beaded 
characters.  Height,  1%  inches;  length,  4-J-  inches. — From  the  Cata- 
combs of  Rome,  Italy.  (Cat.  No.  152246,  U.S.N.M.) 

221.  Terra-cotta  lamp. — On  top  dove  holding  an  olive  branch,  the 
symbol  of  peace,  in  its  bill,  surmounted  by  a winged  caduceus  (the 
staff  of  Mercury).  Height,  1|:  inches;  diameter,  2|  inches. — From 
the  Catacombs  of  Rome,  Italy.  (Cat.  No.  152246,  U.S.N.M.) 

222.  Delftware  f ask. — Decorated  with  the  letters  J H S (Jesus 
Saviour  of  Mankind).  Height,  74  inches;  diameter,  6 inches. — 
Italy.  (Cat.  No.  152244,  U.S.N.M.) 

223.  Jug. — Of  Guadalupe  ware.  Used  b}"  pilgrims  to  the  shrine  of 

Guadalupe,  near  the  City  of  Mexico,  to  carry  away  holy  water. 
Height,  11  inches.  — Guadalupe,  Mexico.  (Cat.  No.  179102, 

U.S.N.M.) 

224.  Two  corner  fixtures. — Made  of  brass,  openwork.  Perhaps 
used  for  the  corners  of  the  binding  of  a missal  or  the  Gospels.  Meas- 
urements, 54  by  4 inches. — Spain.  (Cat.  No.  178868,  U.S.N.M.) 

225.  Panel  painting. — Representing  the  Virgin  and  Infant  in  the 
sky,  and  below  some  worshippers.  Signed,  P.  G.  R.  1711.  Height, 
7%  inches;  width,  11  inches. — Italy.  (Cat.  No.  164846,  U.S.N.M.) 

226.  Church  lantern.  ( ?) — Made  of  wood,  carved,  painted,  and 
gilded.  Triangular.  The  columns  of  the  three  angles  are  carved  in 
the  form  o’f  caryatides,  overtopped  by  a sort  of  cupola,  terminating 
in  a knob.  Height,  24  inches;  width,  114  inches. — Italy.  (Cat. 
No.  179039,  U.S.N.M.) 

227.  Parasil  {umhrellino). — The  cover  is  of  blue  cotton,  with 
trimmings  and  fringes  of  yellow  silk.  Perhaps  used  to  hold  over  the 
ostensory  when  carried  in  procession.  Height,  30  inches. — Italy. 
(Cat.  No.  179019,  U.S.N.M.) 

II.  ECCLESIATICAL  ART  OF  THE  EASTERN  CHURCH. 

The  Eastern  Church,  also  called  the  Greek  Catholic,  the  Orthodox 
Greek,  or,  briefly,  the  Orthodox  Church,  its  full  title  being  the  Holy 
Oriental  Orthodox  Apostolic  Church,  is  that  branch  of  the  Christian 
clmrch  which  predominates  in  eastern  Europe  and  western  Asia. 
The  dissolution  of  union  (schism)  between  the  eastern  and  western 
parts  of  the  Christian  church  became  definite  in  1054,  when  legates  of 
the  Roman  pontiff  deposited  on  the  great  altar  of  the  church  of  St. 
Sophia  at  Constantinople  the  sentence  of  excommunication  against 
Caerularius,  the  patriarch  of  Constantinople.  It  was  brought 
about  by  political  and  hierarchical,  as  well  as  dogmatical  and  cere- 
monial differences  w]iich  arose  between  western  and  eastern  Christen- 
dom, with  their  representative  seats  at  Rome  and  Constantinople, 
in  the  preceding  centuries  of  the  church. 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOV^'ICZ. 


639 


The  Greek  Catholic  Church  has,  in  common  with  the  Eoman 
Catholic  Church,  the  doctrines  of  seven  sacraments,  namely;  bap- 
tism, chrism  (confirmation),  penance  (preceded  by  confession), 
eucharist  (the  Lord's  supper),  ordination,  marriage,  and  extreme 
unction;  besides  the  sacrifice  of  the  mass;  the  religious  veneration 
of  Mary,  the  saints,  images,  relics,  and  the  cross;  the  hierarchical 
degrees;  and  monasticism. 

Its  peculiar  tenets  are  mainly  as  follows:  It  adheres  only  to  tlie 
decrees  of  the  first  seven  ecumenical  councils.  It  teaches  the  pro- 
cession of  the  Holy  Ghost  from  the  Father  alone.  It  denies  the 
dogmas  of  the  immaculate  conception  of  Mar}^  and  of  the  supremacy 
and  infallibility  of  the  Homan  pontin,  and  rejects  the  doctrine  of 
purgatory,  of  works  of  supererogation,  and  indulgences,  but  prays 
for  the  dead  that  God  would  have  mercy  on  them  on  the  day  of 
judgment. 

Its  ritual  and  ceremonial  differences  from  those  of  the  VvTstern 
Church  are  chiefly  the  following:  Baptism  is  administered  b}^  three- 
fold immersion;  chrism  (confirmation)  is  conferred  immediately  after 
baptism  and  by  a priest  (not  by  a bishop) ; in  communion  both  bread 
and  wine  are  given  to  the  laity  and  even  to  infants,  the  bread  being 
put  into  the  wine;  anointing  (extrem^e  unction)  is  performed  on  the 
sick,  not  the  dying;  and  fasts  are  kept  on  Wednesday  and  Friday. 

The  clergy  of  the  Greek  Catholic  Church  are  divided  into  two 
classes — the  black  clergy  (so  called  from  their  dress),  or  monks,  and 
the  vrhite,  or  secular  clergy.  The  former  live  in  celibacy,  and  from 
among  them  are  chosen  the  higher  hierarchical  grades — that  is,  the 
patriarchs,  metropolits,  archbishops,  and  bishops.  The  lower 
secular  clergy,  comprising  popes  (priests),  deacons,  subdeacons,  and 
readers,  must  be  married  before  receiving  orders,  but  can  not  marry 
a second  time. 

The  churches  of  the  Greek  Catholic  Church  are  mostly  built  in 
form  of  a cross.  In  Russia  they  are  generally  crowned  with  one  or 
more  cupolas  of  a bulbous  shape,  which  are  surmounted  by  a cross. 
Sometimes  there  is  a belfry  standing  separate  from  the  church.  The 
altar  space,  which  usually  faces  east,  is  divided  from  the  main  body 
of  the  church  by  a board  partition,  called  iconostas  (image  stand), 
which  is  covered  with  imiages  of  Christ  and  the  saints,  and  contains 
three  doors.  The  service  is  performed  behind  this  screen,  and  only 
at  certain  stages  are  the  middle  doors,  called  the  “sacred,"  or  “royal 
gates,"  opened.  There  are  no  benches  in  the  churches,  the  people 
standing  during  service.  No  organ  or  any  other  instrumental 
music  is  permitted,  but  the  mass  is  generally  accompanied  by  choral 
singing,  and  the  choirs  are  composed  entirely  of  men  and  boys. 

The  Orthodox  Church  consists  at  the  present  of  16  separate  in- 
dependent branches,  who  profess  the  same  faith,  use  the  same  liturgy 


640 


PROCEEDINGS  OF  THE  NATIONAL  MUSEUM. 


VOL.  55. 


(though  in  different  languages),  and  are  in  commimion  with  one 
another.  They  are:  1-4,  the  patriarchates  of  Constantinople,  Alex- 
andria in  Egypt,  Antioch  in  Syria,  and  Jerusalem  in  Palestine;  5, 
Cyprus:  6,  Russia;  7,  Carlowitz;  8,  Hermannstadt  (both  in  Austria- 
Hungary);  9,  Czernowitz  in  the  Bukovina;  10,  Bosnia  and  Herze- 
govina; 11,  Serbia;  12,  Montenegro;  13,  Bulgaria;  14,  Rumania;  15, 
Greece,  and  16,  Mount  Sinai,  consisting  of  only  the  monastery. 

THE  RUSSIAN  ORTHODOX  CHURCH. 

Russia  received  its  Christianity  in  the  tenth  century,  under  Olga 
and  Vladimir  the  Great  (984-1015),  from  Constantinople.  The 
Russian  Church  entirely  agrees  in  doctrine  and  ritual  with  the  other 
branches  of  the  Orthodox  Church,  while  in  administration  it  is  dis- 
tinct. At  first  under  the  jurisdiction  of  the  patriarch  of  Constan- 
tinople, it  became  in  1589  mdependent,  establishing  its  own  patriarch 
in  Moscow.  Peter  the  Great  (1689-1725)  abolished  the  patriarchate 
and  set  up  the  Holy  Directing  Synod  in  1721  to  rule  the  church  of 
Russia.^ 

The  church  in  Russia  is  administered  by  86  bishops,  of  whom  3, 
those  of  Kiev,  Moscow,  and  Petrograd,  are  always  metropolits,  and 
14  are  archbishops.  There  are  481  monasteries  for  men  and  249 
convents  for  nuns.  In  America  the  Russian  Church  is  represented 
by  an  archbishop  of  Aleutia  and  North  America  with  two  suffragans, 
the  bishops  of  Alaska  (with  residence  in  San  Francisco),  and 
Brooklyn. 

There  are  in  Russia  a great  number  of  sects,  most  of  which  ac- 
knowledge the  doctrinal  basis  of  the  oriental  church,  but  reject  the 
liturg}^  of  the  Russian  Church  as  changed  by  the  patriarch  Nicon 
(1654).  The}^  are  called  by  the  state  church  Rascolniki  (separa- 
tists), while  they  call  themselves  Starnovyertzi  (of  the  old  faith). 

228.  Russian  cover  for  altar  table. — Made  of  purple  croisson  silk, 
with  a cross  in  the  center.  The  sanctuary  in  an  eastern  chm*ch  is 
separated  from  the  main  body  of  church  by  the  image  screen  (iconos- 
tas),  and  the  laity  is  not  allowed  there.  In  the  middle,  before  the 
“royal  gates,”  stands  the  altar,  called  “throne,”  a solid  square 
stone,  covered  with  a linen  cloth  down  to  the  ground  all  around. 
Over  the  linen  cloth  is  laid  a covering  of  some  rich  material,  repre- 
senting the  “glory  of  God.”  Besides  the  “tlmone”  is  another  table, 
called  the  “altar  of  sacrifice”  (p'rotJiesis) , on  which  are  the  sacred 
vessels  used  in  the  celebration  of  the  mass.  These  consist  of  the 
chalice,  paten,  which  is  much  larger  and  deeper  than  the  one  used 
in  the  Roman  Catholic  Church;  the  star — that  is,  a cross  of  bent 
metal  which  stands  over  the  paten  holding  the  veils  which  cover  the 
paten  and  chalice;  a spoon  for  giving  communion  to  the  people,  a 


i Since  the  revolution  of  1917  the  patriarchate  of  Moscow  has  been  restored. 


yo.  2287.  COLLECTION  OF  ECCLESIAi^TICAL  ART—CASANOWICZ.  641 


Imife  in  form  of  a lance,  in  allusion  to  tlie  lance  which  pierced  the 
side  of  Christ  (John  xix,  34),  with  which  the  bread  for  the  Eucharist 
is  cut  up;  and  two  fans,  made  of  a long  handle  and  a flat  representa- 
tion of  a seraph  with  six  wings  (Isaiah  vi,  2),  which  the  deacon 
washes  over  the  sacrament.  Length,  37i  inches;  width,  34  inches. — 
Nizhni  Novgorod,  Russia.  (Cat.  No.  154785,  U.S.N.M.) 

229.  Russian  cover  for  altar  table. — Made  of  striped  silk,  with  two 
crosses  in  silver  applique.  Length,  6 feet  2 inches;  width,  2 feet 
1 inch. — Nizhni  Novgorod,  Russia.  (Cat.  No.  154788,  U.S.N.M.) 

230.  Old  Russian  Church  candlestick. — Made  of  brass.  The  back^ 
somewhat  in  form  of  a harp,  terminates  on  the  end  in  three  flames, 
arranged  in  the  form  of  a cross.  From  the  back,  which  was  fastened 
to  the  wall,  run  out  five  arms  in  a semicircle.  Height,  13  inches; 
width,  12J  inches  9 inches.- — Washington,  D.  C.  (Cat.  No.  251899, 
U.S.N.M.) 

231.  Russian- funerary  pall. — Made  in  form  of  a cross,  with  the 
four  ends,  or  wings,  to  hang  down  the  sides.  The  center,  or  top  cover, 
is  of  yellow  silk;  the  ends  are  of  black  velvet.  On  each  of  the  narrow 
ends  is  a double  cross  of  cream  colored  silk  sewed  on.  On  the  wide 
ends  is  in  each  corner  a skull  and  crossbones  of  the  same  material  and 
workmanship  as  the  crosses  on  the  narrow  ends,  while  in  the  center 
of  each  is  a painted  oval  representing  the  angel  announcing  the 
resurrection  of  Christ  to  the  two  Marys  at  the  tomb  (Matthew 
XXVIII,  1-6).  Length,  10  feet  4 inches;  width,  6 feet  4J  inches.— 
Nizhni  Novgorod,  Russia.  (Cat.  No.  179110,  U.S.N.M.) 

ECCLESIASTICAL  VESTMENTS. 

The  full  canonicals  of  a Greek  Catholic  priest  are:  1,  stoicJiarion,  a 
loose  shirtlike  garment  with  wide  sleeves  and  reaching  to  the  feet, 
of  any  stuff  or  color,  corresponding  to  the  Roman  Catholic  alb;  2, 
epimanikia,  cuffs,  made  of  silk  or  brocade  and  reaching  about  half- 
way from  the  wrist  to  the  elbow;  3,  epitrachelion,  corresponding  to 
and  resembling  the  Latin  stole,  only  instead  of  being  thrown  around 
the  neck,  the  head  is  put  through  a hole  in  the  upper  end  and  it 
hangs  down  in  front  nearly  to  the  feet;  4,  zone,  girdle;  and  5, 
phaenolion,  chasuble,  a bell-shaped  garment  with  short  wide  sleeves, 
with  a hole  through  which  the  head  is  put,  reaching  to  the  feet  be- 
hind and  at  the  sides  and  usuall}^  scooped  out  in  front.  Priests  of  a 
higher  rank  (Protopopes  in  Russia)  wear  in  addition,  the  epigonation^ 
a rhomb  or  lozenge-shaped  piece  of  stiff  brocade,  about  12  inches  in 
length,  suspended  from  the  girdle  at  the  right  side,  symbolizing 
the  sword  of  the  Spirit.  The  priesPs  every-day  attire  is  a cassock 
of  any  sober  color. 

The  bishop’s  liturgical  vestments  are  generall}^  more  ornamental 
than  those  of  a priest,  being  embroidered  with  crosses  and  figures 
62055 — Proc.N.M.vol.55 — 19 41 


642 


PROCEEDINGS  OF  THE  NATIONAL  MUSEUM. 


VOL.  55. 


of  the  Virgin  and  of  saints.  His  stoicharion  has  red  and  vmite  bands 
running  from  the  shoulders  to  the  feet,  and  embroidered  at  the 
bottom.  The  e’pitraclielion  is  worn  around  the  neck  and  hangs  down 
in  the  front.  In  place  of  the  phrienolion  the  bishop  wears  a saJclcos,  a 
tunic  of  puce-colored  satin  reaching  to  below  the  knees,  with  short 
sleeves,  divided  up  the  sides  which  are  joined  by  bows  of  ribbons-  or 
clasps.  Over  this  comes  the  omophorion,  a wide  band  of  silk  or 
velvet  passed  round  the  neck,  one  end  hanging  down  from  the  left 
side  in  front,  the  other  behind,  and  kept  in  its  place  with  ornamental 
pins.  The  pontifical  miter  is  a high  hat  which  swells  out  toward  the 
top  and  is  spanned  diagonally  by  two  hoops;  on  the  highest  point 
of  the  dome-shaped  top  is  a cross,  either  standing  upright  or  placed 
flat.  The  bisho])  also  wears  a pectoral  cross  and  a medallion  with 
the  image  of  the  Virgin  and  Infant,  called  the  panagia  or  enkolpion, 
and  carries  a pastoral  staff  or  crozier  {dilmnilcion) . 

The  deacon  wears  the  stoicharion,  the  epimaniJcia,  and  the  epi- 
trachdion,  called  orarion,  which  hangs  from  the  left  shoulder,  to 
which  it  is  pinned,  straight  to  the  ground  before  and  behind. 

232.  Russian  priests^  phaenolion. — ^Made  of  heavy  gold  brocade, 
with  a Greek  cross  in  gold  applique,  lined  with  silver  applique,  on 
the  back. — Nizhni  Novgorod,  Russia.  (Plate  90,  Cat.  No.  154783, 
U.S.N.M.) 

233.  Russian  priests'  phaenolion. — Made  of  gold  and  purple  silk 
brocade,  with  Greek  cross  in  gold  and  silver  applique  on  the  back.— 
Nizhni  Novgorod,  Russia.  (Cat.  No.  154784,  U.S.N.M.) 

234.  Pastoral  staff  of  a Greek  Catholic  lishop. — Made  of  copper 
tubes,  silvered,  terminating  at  the  top  into  two  serpents  bent  into  a 
handle,  giving  it  the  appearance  of  an  anchor,  the  emblem  of  hope, 
vvfith  a cross  surmounting  an  orb  between  them.  The  handle  and 
the  cross  are  gilded.  Height,  5 feet  2 inches.^ — Constantinople, 
Turkey.  (Plate  91,  fig.  1,  Cat.  No.  154797,  U.S.N.M.) 

235.  Costume  of  a Greek  Catholic  monlc. — Consisting  of — 1,  inner 
coat;  2,  soutana;  3,  outer  coat;  4,  gircUe;  5,  shoes  with  goloshes;  6, 
cylindrical  hat,  called  Kalemaukion,  without  a brim  below,  but  with 
a narrow  rim  at  the  top.  It  is  worn  by  all  ecclesiastics  with  the 
other  vestments  out  of  doors  and  in  processions. — Constantinople, 
Turkey.  (Plate  92,  fig.  1,  Cat.  No.  154773,  U.S.N.M.) 

RUSSIAN  ICONS  AND  CROSSES. 

The  Greek  Orthodox  Church  does  not  admit  sculptured  figures 
into  the  churches  (though  they  often  have  numerous  statues  upon 
the  outside),  perhaps  because  they  are  reminiscent  of  the  Greek  gods. 
The  eastern  icon — that  is,  image  of  Christ,  Mary,  the  angles,  and 
saints — is  alwa}~s  fiat;  a painting,  mosaic,  or  bas-relief.  To  imitate 
an  effect  of  sculpture  in  the  painted  pictures  placed  upon  the  iconostas 


^0.22^1.  COLLECTION  OF  ECCLESIASTICAL  ART— CAS  AN  OW  1C  Z.  643 


or  the  screen  which  divides  the  sanctuary  from  the  main  body  of  the 
churchy  the  icon,  which  is  generally  painted  upon  wood,  is  covered, 
excepting  the  face  and  hands,  with  a raised  relief  of  silver,  gold,  or 
pearls,  and  precious  stones,  showing  all  the  details  and  curves  of  the 
drapery,  clothing,  and  halo  around  the  flat  painted  face  and  hands 
of  the  icon.  In  many  Russian  churches  not  only  all  the  waU  space 
but  the  surface  of  the  columns  as  well  is  covered  with  pictures  repre- 
senting scenes  from  the  Bible  or  the  lives  of  the  saints  or  religious 
heroes.  Before  the  icons  candlesticks  or  large  lamps  are  lighted. 
In  the  homes  such  a picture  is  usually  put  up  in  the  corner  of  a room, 
and  before  it  a lamp  burns  and  devotions  are  performed.  Devout 
persons  wear  on  a little  chain  around  the  neck  a small  cross  or  sacred 
image  given  them  on  the  day  of  baptism. 

The  cross  usually  seen  in  the  Russian  Church  is  three-barred,  of 
which  the  upper  bar  represents  the  title  of  the  cross  (John  xix,  19); 
the  second,  the  arms;  and  the  lowest,  which  is  always  inclined  at  an 
angle,  the  foot  rest  {suppedaneMin) , on  the  assumption  that  one  foot 
of  Christ,  when  suffering,  was  drawn  higher  than  the  other. 

There  are  in  the  museum^s  collection  over  300  icons  and  crosses, 
the  larger  part  of  brass.  A selection  from  them  will  be  noted  below. 

236.  Russian  icon,  Mai^y  with  infant. — Covered  with  a silver  gilt 
plate  of  chased  work  to  represent  the  clothing,  with  apertures  for 
faces  and  hands.  Studded  with  fresh-water  pearls,  emeralds,  ruby 
spinels,  and  garnets,  which  date  from  the  eleventh  to  the  fourteenth 
century,  as  they  are  all  drilled  and  were  used  for  some  other  purpose 
before  they  were  put  in  the  frame  of  the  icon.  The  pictures  on  the 
folding  doors,  representing  scenes  from  the  lives  of  Christ  and  Mary, 
were  painted  by  the  artist  who  designed  and  decorated  the  cathedral 
of  Nizhni  Novgorod,  about  1645.  Height,  13i  inches;  width,  171, 
inches. — Nizhni  Novgorod,  Russia.  (Plate  93,  Cat.  No.  154779 
U.S.N.M.) 

237.  Russian  icon,  Mary  with  infant. — Painted  on  wood.  Height, 
6J  inches;  width,  4|  inches. — Nizhni  Novgorod,  Russia.  (Cat.  No. 
154778,  U.S.N.M.) 

238.  Miniature  of  Christ  and  Mary. — Oval,  painted  on  porcelain. 
Christ  is  represented  in  half  figure,  with  long  hair  falling  behind,  face 
slightly  turned  to  the  left,  and  hands  folded  on  the  bosom.  He  is 
covered  with  a green  cloak  which  leaves  his  bosom  and  left  arm  free. 
Mary’s  minute  bust  is  above,  with  red  garment  down  over  her  head. 
She  is  represented  with  hands  extended  rising  above  the  clouds  or 
looking  down  from  heaven.  The  porcelain  is  set  in  a silver  gilt  frame, 
which  is  provided  with  a loop  for  suspension,  indicating  that  it  v/as 
worn  as  a medallion.  An  inscription  in  Russia  reads,  ‘‘Moscow, 
April  13,  1796.”  Diameters,  2f  and  lyl  inches.  (Cat.  No.  293052, 


644 


PROCEEDINGS  OF  THE  NATIONAL  MV  SEEM. 


VOL.  of). 


U.S.N.M.)  Gift  of  Abraham  Burnstine,  Washington,  District  of 
Columbia. 

239.  Miniature  head  of  Christ. — Painted  on  wood  from  the  cabin 
built  by  Peter  the  Great  (1682-1725)  and  lacquered.  Height, 
inches;  width,  1|  inches. — Russia.  (Cat.  No.  281569,  U.S.N.M.) 
Bequest  of  Homer  N.  Lockwood. 

240.  Russian  icon,  the  Holy  Family. — Painted  on  wood.  Height, 
2f  inches;  width,  2J  inches. — Nizhni  Novgorod,  Russia.  (Cat.  No. 
154777,  U.S.N.M.) 

241.  Russian  icon,  Cosmas  and  Damianus. — Painted  on  wood. 
Cosmas  and  Damianus  were  two  brothers  who  died  as  martyrs  in  the 
persecution  of  the  Christians  under  the  Roman  Emperor  Diocletian 
(303-311  A.  D.).  Height,  8f  inches;  width,  6J  inches. — Nizhni 
Novgorod,  Russia.  (Cat.  No.  154781,  U.S.N.M.) 

242.  Russian  icon. — Consisting  of  a brass  triptych.  In  the  center 
is  the  Virgin  with  the  Infant;  above,  God  the  Father;  in  the  two 
wings,  scenes  from  the  life  of  Christ. — Nizhni  Novgorod,  Russia. 
(Plate  94,  fig.  1,  Cat.  No.  179-120,  U.S.N.M.) 

243.  Russian  icon. — Made  of  brass.  In  the  center  Christ  seated, 
holding  in  the  left  hand  the  Gospels  and  with  the  right  giving  the 
blessing,  surrounded  by  the  Twelve  Apostles.  Above  in  a shield,  God 
the  Father,  holding  in  his  left  hand  the  orb,  surmounted  by  a cross, 
and  with  the  right  hand  giving  the  blessing,  and  beneath  the  shield 
the  dove,  s5unbol  of  the  Holy  Ghost,  and  the  whole  surmounted  by 
six  seraphim,  each  with  six  wings  (Isaiah  vi,  2). — Nizhni  Novgorod, 
Russia.  (Plate  94,  fig.  2,  Cat.  No.  179113,  U.S.N.M.) 

244.  Russian  cross. — Made  of  brass.  Representing,  in  relief,  the 
crucifixion.  On  top,  God  the  Father  and  the  dove  (as  in  the  pre- 
ceding); under  the  third  oblique  bar  (the  suppedaneum)  a skull 
and  cross  bones.* — Nizhni  Novgorod,  Russia.  (Plate  94,  fig.  3,  Cat. 
No.  179111,  U.S.N.M.) 

245.  Russian  icon. — Consisting  of  a brass  tetraptych,  representing 
in  20  compartments,  in  relief,  scenes  from  the  life  of  Christ. — Russia. 
(Plate  95,  Cat.  No.  211164,  U.S.N.M.) 

LITURGICAL  BOOKS. 

The  liturgies  used  in  the  orthodox  communities  belong  to  the 
Byzantine  rite.  This  rite  comprises  three  liturgies — that  of  St. 
John  Chrysostom,  patriarch  of  Constantinople  (died  407);  that  of  St. 
Basil  the  Great,  bishop  of  Caesarea  in  Cappodocia,  Asia  Minor 
(died  379) ; and  that  of  St.  Gregory  Dialogos  (Pope  Gregory  I,  590- 
604),  also  called  the  liturgy  of  the  presanctified.  The  two  latter  are 
used  only  on  special  days,  while  that  of  St.  Chrysostom  is  the  ordinary 
liturgy.  While  the  ritual  is  the  same  in  aU  the  branches  of  the 
Orthodox  Church,  the  language  in  v/hich  it  is  recited  is  that  of  each 


NO.  2287.  COLLECTION  OF  ECCLESIAi^T ICAL  ART—CAFANOWICZ.  645 


people,  only  usually  in  the  archaic  form.  Thus,  in  the  Greek-speaking 
communities  it  is  the  old  Greek;  among  the  Slavs  it  is  old  Slavonik; 
Rumanian  is  used  by  the  church  of  that  country  and  the  Rumanians 
in  Hungary;  while  Syriac  is  the  church  language  in  some  parts  of 
S3^ria. 

246.  Manual  of  the  services  of  the  Orthodox  Church. — Containing  a 
description  of  the  services,  rites,  and  ceremonies  of  the  Greek  Ortho- 
dox Chm’ch,  Muth  illustrations.  Compiled  by  Archpriest  D.  Sokolof 
Translated  from  the  Russian.  Printed  in  New*  York  and  Albany, 
1899. — Sitka,  Alaska.  (Cat.  No.  259114,  U.S.N.M.)  Gift  of  Rev. 
A.  P.  Kashevaroff. 

247.  The  divine  liturgies  of  our  fathers  among  the  Saints  John 
Chrysostom  and  Basil  the  Great,  with  that  of  the  Presanctified. — Edited 
with  Greek  text  by  J.  N.  W.  B.  Robertson.  Printed  in  black  and  red 
letters.  The  black  letters  contain  the  text  of  the  liturgies,  while  the 
red  the  rubrics  or  directions  in  performing  the  various  actions  of  the 
service,  with  a colored  plate,  representing  the  crucifixion.  London, 
1894. — Sitka,  Alaska.  (Cat.  No.  259107,  U.S.N.M.)  Gift  of  Rev. 
A.  P.  Kashevaroff. 

248.  Octoechos,  or  Booh  of  Eight  Tones. — Containing  the  com- 
memorations, or  collects,  for  each  day  of  the  week — namely:  Sunday 
of  the  resurrection,  Monday  of  the  angels,  Tuesday  of  John  the  Bap- 
tist and  the  other  prophets,  Wednesday  of  Mary,  Thursda}^  of  the 
apostles  and  St.  Nicholas,  Friday  of  the  cross,  and  Saturday  of  the 
saints.  They  are  sung  in  eight  varied  tones,  covering  a cycle  of  eight 
weeks,  hence  the  name  Octoechos.  Translated  from  the  Slavic  by 
Prof.  N.  Orloff.  Printed  in  London,  1898. — Sitka,  Alaska.  (Cat. 
No.  259109,  U.S.N.M.)  Gift  of  Rev.  A.  P.  Kashevaroff. 

249.  Horologion,  or  Boole  of  Hours. — Containing  the  daily  devo- 
tions for  the  stated  or  canonical  hours.  Translated  from  the  Slavic 
by  Prof.  N.  Orloff.  Printed  in  London,  1897. — Sitka,  Alaska.  (Cat. 
No.  259681,  U.  S.N.M.)  Gift  of  Rev.  A.  P.  Kashevaroff. 

250.  Trehnih,  or  Booh  of  Needs. — Containing  the  prayers  and  serv- 
ices performed  on  various  occasions,  such  as  churching  of  a woman, 
baptism,  confession,  marriage,  visiting  the  sick,  bmial.  Translated 
from  the  Slavic  by  S.  V.  Shann.  Printed  in  London,  1894. — Sitka, 
Alaska.  (Cat.  No.  259108,  U.S.N.M.)  Gift  of  Rev.  A.  P.  Kashev- 
aroff. 

III.  ECCLESIASTICAL  ART  OF  THE  ARMENIAN  CHURCH. 

The  territory  which  once  formed  the  Kingdom  of  Armenia,  is  the 
tableland  situated  between  Asia  Minor  and  the  Caspian  Sea,  inclosed 
on  several  sides  by  the  ranges  of  the  Taurus  and  Anti-Taurus,  and 
partly  traversed  by  other  mountains,  the  highest  of  which  is  the 
volcanic  peak  of  the  Ararat  mentioned  in  the  Old  Testament.  The 


646 


PROCEEDINGS  OF  THE  NATIONAL  MUSEEM. 


VOL.  55. 


Armenian  people  appear  in  history  about  the  middle  of  the  sixth  cen- 
tury B.  C.  The  last  refuge  of  Armenian  independence  was  destroyed 
by  the  Mamelukes  in  1375,  and  the  country  is  now  divided  between 
Turkey,  Russia,  and  Persia. 

The  establishment  of  Christianity  in  Armenia  is  ascribed  to  St. 
Gregory  the  Illuminator,  the  apostle  of  Armenia.  Certain  is  that 
Christianity  at  an  early  date  passed  from  Syria  over  into  Armenia, 
and  that  the  Bible  was  translated  into  Armenian  in  the  fifth  century. 

The  Armenian  Church  agrees  in  many  doctrines  and  practices  with 
the  Greek  Orthodox  Church.  It  teaches  the  procession  of  the  Holy 
Ghost  from  the  Father  only,  but  maintains  the  formula  of  one  nature 
in  Christ  (monopJiysitism).  Baptism  is  performed  by  partially  im- 
mersing and  then  thrice  pouring  w'ater  on  the  head  of  the  person. 
Confirmation  is  performed  by  the  priest  at  baptism.  The  Lord^s 
Supper  is  administered  in  both  kinds,  the  broken  bread  or  wafer 
(unleavened)  being  dipped  in  undiluted  wine  and  laid  on  the  tongue 
of  the  fasting  communicant.  Like  the  Roman  Catholic  Church  the 
Armenian  Church  professes  belief  in  seven  sacraments,  in  transub- 
stantiation,  and  adores  the  host  in  mass,  but  rejects  the  doctrine  of 
purgatory,  though  prayers  are  offered  for  the  dead.  It  venerates  the 
cross,  the  saints  and  their  pictures,  and  insists  on  the  perpetual 
virginity  of  Mary.  The  church  services  are  performed  in  the  an- 
cient Armenian  language. 

There  are  kept  by  the  Armenian  Church  105  fast  days,  when  no 
animal  food  can  be  eaten;  14  great  feast  days  observed  more  strictly 
than  Sunday;  and  more  minor  feasts  than  days  of  the  year. 

The  clergy  of  the  Armenian  Church  is  divided  into  nine  grades  or 
orders:  The  catholicos,  who  is  at  the  head  of  the  entire  hierarchy 
with  his  seat  at  Etchmiadzin,  near  Erivan,  the  capital  of  Russian 
Armenia;  patriarchs;  archbishops;  bishops;  priests;  deacons;  sub- 
deacons; porters;  readers;  exorcists;  and  candle  lighters.  The  priests 
are  divided  into  two  classes — the  doctors  or  teachers  (vartaheds) , who 
must  live  in  celibacy;  and  the  parish  priests,  who  must  marry  before 
attaining  the  rank  of  subdeacon.  Besides  the  secular  clergy  there 
are  also  monks  in  the  Armenian  Church. 

Armenian  church  buildings  are  usually  small  and  have  massive 
walls,  sometimes  7 or  8 feet  thick,  and  very  small  windows.  They 
are  square  and  are  adorned  with  a polygonal  tower  terminating  in  a 
short  spire. 

251.  Costume  of  an  Armenian  junest. — Consisting  of — 1,  tunic;  2, 
sou  tana;  3,  girdle;  4,  shoes  with  galoshes;  5,  cylindrical  hat  of  blue 
velvet,  with  waul  ted  and  fluted  top. — Constantinople,  Turkey, 
(Plate  92,  fig.  2,  Cat.  No.  154774,  U.vS.N.M.) 

252.  Armenian  patriarchs  sta,f. — Made  of  copper,  silvered,  ter- 
minating in  a gilded  orb  surmounted  by  a cross.  Height,  5 feet  9 


^0.22^1.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANO  WICZ.  647 


indies. — Constantinopie,  Turkey.  (Plate  91,  fig.  2,  Cat.  No.  154796, 
U.S.N.M.) 

253.  KscJioiz. — Made  of  white  metal.  A musical  instrument  in 
form  of  a rayed  circle,  somewhat  like  the  halo  round  the  head  of  a 
saint,  with  10  gilded  globular  tinklers  attached  on  the  edge.  In  the 
middle  of  the  circle  is  a six-winged  seraph  (Isaiah  vi,  2) . At  certain 
parts  of  the  celebration  of  the  mass  this  instrument  is  shaken  with  the 
object,  as  the  ringing  of  the  altar  bell  in  Roman  Catholic  churches, 
to  excite  the  attention  and  devotion  of  the  congregation.  Height, 
19  inches;  diameters,  II4  and  9J  inches. — Constantinople,  Turkey. 
(Plate  96,  fig.  1,  Cat.  No.  154799,  U.S  N M.) 

254.  Cross  ofhenediciicn. — Made  of  white  metal.  Used  when  giving 
the  blessing  to  the  congregation  by  an  ecclesiastic.  The  Armenian 
cross  differs  from  the  Latin  cross  b}^  the  arms  being  nearer  the  top 
and  much  shorter.  Height,  9^  inches;  width,  51-  inches. — Constan- 
tinople, Turkey.  (Plate  96,  fig.  2,  Cat.  No.  154798,  Pl.S.N.M.) 

255.  Flute. — Used  for  accompanying  the  chanting  of  the  mass  in 
the  Armenian  Church.  The  Armenian  Church  makes  no  use  of  the 
organ.  Length,  31  inches. — Constantinople,  Turkey.  (Plate  97,  fig. 
1,  Cat.  No.  154802,  U.S.N.M.) 

256.  Triangle. — Used  during  the  service  of  the  mass  in  the  Arme- 
nian Church.  Height,  7 inches;  base  6 inches. — Constantinople, 
Turkey.  (Plate  97,  fig.  2,  Cat.  No.  154805,  U.S.N.M.) 

257.  Double  hell. — Made  of  white  metal.  Used  at  the  conclusion 
of  the  service  of  the  mass  in  the  Armenian  Church.  Height,  8 inches; 
diameters,  3|  and  3 inches. — Constantinople,  Turkey.  (Plate  97,  fig. 
3,  Cat.  No.  154801,  U.S.N.M.) 

258.  Cymbal. — Used  in  the  service  of  the  mass  in  the  Armenian 
Church.  It  is  struck  with  a hammer,  and  the  secret  of  its  manufac- 
ture is  said  to  be  known  to  but  one  artisan  in  Constantinople.  Diam- 
eter, 15  inches. — Constantinople,  Turkey.  (Plate  97,  fig.  4,  Cat.  No. 
154803,  U.S.N.M.) 

259.  Pair  of  cymbals. — Called  by  the  Armenians  Dzindzgha.  Used 
in  the  service  of  the  mass  in  the  Armenian  Church.  Diameter,  11 
inches. — Constantinople,  Turkey.  (Cat.  No.  154804,  U.S.N.M.) 

MODELS  OF  ECCLESIASTICAL  EDIFICES. 

260.  Models  of  the  cathedral,  the  baptistery,  the  Campanile  or  Leaning 
Tower,  ami  the  Campo  Santo  of  Pisa,  Italy. — Made  of  alabaster  and 
mounted  upon  a tablet  of  black  marble.  The  cathedral  (duomo)  v/as 
begun  in  1063  (or  1067)  and  consecrated  in  1118.  It  is  a basilica  of 
the  rom^anesque  style  of  architecture.  Its  plan  is  a Latin  cross,  311 
feet  long,  IO64  feet  across  the  nave,  and  four  aisles,  237  feet  across 
the  transept,  and  91  feet  high,  to  the  wooden  ceiling  of  the  nave. 
Over  the  apse  is  a semidome.  The  facade  has  five  superposed  tiers 


648 


PROCEEDINGS  OF  THE  NATIONAL  MUSEUM. 


VOL,  55. 


of  arcades  with  small  columns,  and  a similar  arcade  is  carried  round 
the  edifice  under  the  roof.  The  baptistery  which  stands  in  front  of 
the  cathedral,  erected  between  1154  and  1350,  is  a circular  structure 
with  a dome,  surmounted  by  a statue  of  John  the  Baptist.  It  also 
has  two  tiers  of  superposed  arcades.  Its  height  is  180  feet;  the  diam- 
eter inside  is  nearly  100  feet,  outside  107  feet,  so  that  the  walls  are 
about  8 feet  thick.  The  dome  is  60  feet  in  diameter  and  is  supported 
on  four  piers  and  eight  pillars.  The  campanile  or  leaning  tower  was 
in  process  of  construction  one  hundred  and  seventy-odd  years,  1174- 
1350.  It  is  a cylindrical  structure  in  eight  stories.  The  lower  story, 
which  is  solid,  has  a height  of  35  feet  and  is  adorned  with  15  three- 
quarter  columns.  The  six  stories  above  this  average  20  feet  in 
height,  and  are  surrounded  with  an  open  arcade.  The  whole  is 
crowned  with  a similar  circular  tower,  27  feet  high,  in  which  the 
bells  are  hung.  The  entire  height  is  thus  182  feet.  The  diameter  at 
the  base  is  52  feet.  The  tower,  in  consequence  of  the  giving  away 
of  the  foundations  before  the  fifth  story  was  reached,  leans  11  feet 
2 inches  out  of  the  perpendicular,  and  adding  the  1 foot  10  inches  of 
the  projecting  cornice,  it  overhangs  the  base  by  13  feet. 

The  Campo  Santo,  or  burial  place,  was  begun  in  1278  and  com- 
pleted in  1464.  It  is  an  oblong  building  with  a square  tower  in  front, 
surmounted  by  a cupola.  It  contains  among  others  the  tomb  of 
Henry  VII,  Emperor  of  Germany  1308-1313.  It  is  a veritable 
museum  of  medieval  painting  and  sculpture.  Height  of  the  bap- 
tistery of  the  model,  2J  inches. — Pisa,  Italy.  (Cat.  No.  257751, 
U.S.N.M.)  Gift  of  Mrs.  Charlotte  Emerson  Main. 

261.  Model  oj  a church  in  Borgund,  Norway. — Made  of  wood.  The 
church  is  a wooden  structure,  with  many  pinnacles,  giving  it  the 
aspect  of  a Chinese  pagoda  and  suggesting  the  house  of  seven 
gables.’^  This  style  of  church  architecture  was  at  one  time  very 
common  in  Norway,  but  is  fast  disappearing.  Height,  8 inches; 
length,  7|-  inches;  width,  5J  inches. — Norway.  (Cat.  No.  249675, 
U.S.N.M.).  Gift  of  Miss  Eliza  R.  Scidmore. 

262.  Model  of  the  tahernacle  of  the  Church  of  Jesus  Chidst  of  Latter 
Day  Saints  in  Salt  Lalce  City,  Utah. — Made  of  wood.  The  tabernacle, 
built  in  1864-1867,  is  in  the  shape  of  an  oval  or  ellipse,  250  feet  long, 
150  feet  wide,  and  80  feet  high.  It  is  covered  with  a wooden  roof 
with  iron  shingles,  resembling  a turtle  sheU,  which  rests  upon  44 
buttresses  of  sandstone,  but  unsupported  by  pillars  or  beams,  so  that 
the  interior  presents  one  of  the  largest  unsupported  arches  in  the 
world.  Between  the  buttresses  are  20  large  double  doors  opening 
outward  and  affording  speedy  egress.  Inside  the  building  is  sur- 
rounded by  a gallery,  except  at  the  west  end  where  there  are  a plat- 
form for  speakers,  seats  for  the  choir,  and  one  of  the  largest  organs, 
comprising  500  pipes.  The  building  which  is  used  for  public  religi- 


NO.  2287.  COLLECTION  OF  ECCLESIASTICAL  ART—CASANOWICZ.  649 


ous  services  on  Sunday  afternoons,  for  lectures,  sacied  concerts,  and 
other  meetings,  has  a seating  capacity  for  8,000  people,  but  can 
accommodate  about  10,000,  and  is  well  adapted  for  speaking  and 
hearing.  It  is  said  that  a pin  dropped  at  one  end  of  the  hall  may  be 
heard  distinctly  at  the  other  end,  over  200  feet  away.  The  model 
shows  the  arrangement  of  the  interior  in  detail  and  also  the  organ. 
Height,  31  inches;  length,  7 feet;  width,  4 feet  2 inches.- — Salt  Lake 
City,  Utah.  (Cat.  No.  258396,  U.S.N.M.)  Gift  of  the  committee 
of  the  Church  of  Jesus  Christ  of  Latter  Day  Saints. 

263.  Temple  of  the  Church  of  Jesus  Christ  of  Loiter  Day  Saints  in 
Salt  LoJce  City,  Utah. — Made  of  j^laster  of  Paris.  The  temple  is 
built  mainly  of  gray  granite,  quarried  from  the  Wasatch  Mountains, 
and  it  required  40  years  (1853-1893)  for  its  construction.  It  is  186 
feet  long  from  east  to  west  and  99  feet  wide.  The  walls  are  6 feet 
thick.  At  each  corner  are  three  pointed  towel's,  the  loftiest  of  wliich, 
in  the  center  of  the  eastern  or  prmcipal  facade,  is  210  feet  high,  and 
is  surmounted  by  a gilded  copper  statue,  12  feet  6 inches  high,  of  the 
angel  Moroni.  The  temple  is  used  for  the  achninistration  of  ordi- 
nances, as  baptism,  marriage,  ordination,  also  for  theological  lectures, 
preaching,  prayer,  etc.  Height,  5 feet  4 inches;  length,  5 feet  3 in- 
ches; width,  3 feet  4 inches.- — Salt  Lake  City,  LTah.  (Cat.  No. 
258397,  LhS.N.M.)  Gift  of  the  committee  of  the  Church  of  Jesus 
Christ  of  Latter  Day  Saints. 


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2:-A 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL,  55  PL.  60 


Roman  Catholic  Altar  from  Germany 

For  description  see  page  607. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  61 


Ecclesiastical  Candlesticks  from  Southern  Europe. 

For  description  see  page  607 


'^>V- 


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i;.--' -K' 


1 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  62 


For  description  see  pages  607  and  608. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  63 


Incense  Boats  (I  and  4),  Holy  Water  Vessel  (2),  and  Sprinkler  (3) 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  64 


Paten  (I)  and  Chalice  (3)  and  Ostensory  (2). 

For  description  see  pages  608  and  615. 


•-  ) 


- 


i 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.f55  PL.  65 


CiBORY  (I  j,^TRAYi(2),  Urn  (3),  Pyx  (4),  and  Cup  (5)  and  Spoon  (6)  for  Holy  Chrism. 

For  description  see  pages  609  and  614, 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  66 


Maniple  (I),  Chasuble  (2),  and  Stole  (3). 


For  description  see  page  612 


V 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  67 


Stole  (I),  Chasuble  (2),  and  Maniple  (3). 


For  description  see  page  612, 


f 


.I"- 


\ 

\ 


Purple  Velvet  Dalmatic  from  the  Philippines. 


For  description  see  page  613, 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  69 


Bishop’s  Miter  (I),  Crozier  (2),  and  Pectoral  Cross  (3) 


For  description  see  page  613. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  70 


OSCULATORIES  FROM  ITALY. 
For  description  see  page  614. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  71 


Cape  and  Stole. 


For  description  see  page  6!5. 


U.  S,  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  72 


Wooden  Triptych  in  Gothic  Style. 


For  description  see  page  615. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  73 


Wooden  Triptych  from  Madrid,  Spain 


■ ^ 


r**' 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL  55  PL.  74 


Holy  Water  Fountains  from  Italy 

For  description  see  pages  616  and  616. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  75 


An  Italian  Missal. 

For  description  see  page  616. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  76 


AiSeries  of  Altar  Cards  from  Italy. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  77 


Processional  Cross  from  Mexico. 


For  description  see  pace  618. 


V,., 


i 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  78 


Processional  Cross  from  Italy. 


For  description  see  page  618. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  79 


Ivory  Cross  with  Appurtenances  of  the  Passion. 


For  description  see  page  619. 


U.  S.  NATIONAL  MUSEUiVi 


PROCEEDINGS,  VOL.  55  PL.  80 


Wooden  Figure  of  Christ  from  the  Philippines. 


Fori  orscRiPTiON  see  page  622. 


'Y-j. 


\ 


V.. 


- r-C 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL,  55  PL. 


81 


Engraved  Shells  Showing  the  Lord’s  Supper  and  the  ascension 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  82 


Processional  Banners  Made  of  White  Metal. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  83 


Religious  Medals  from  Italy. 


For  description  see  page  629 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  84 


Rosary  of  Mother-of-Pearl. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  85 


Rosary  Made  of  Seeds  of  the  Virginia  Fringe  Tree. 


For  description  see  page  63 


'V 


'X 


i 


u.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  86 


For  description  see  pages  632  and  633. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  87 


Roman  Catholic  Rosaries. 


For  description  see  pages  633  and  634. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  88 


Costume  of  the  Fraternity  of  the  Misericordia. 


For  description  see  page  634, 


i 

] 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  89 


For  description  see  page  635. 


'nJT  ■ , 


4' 


i 

i 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  90 


Gold  Brocade  Phaenolion  of  a Russian  Priest 


For  description  see  page  642, 


u.  vS.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL,  55 


PL.  91 


Pastoral  Staffs. 


For  description  see  pages  6^2  and  646. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  92 


Headgear  Worn  by  Priest 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  93 


Russian  Icon  of  Mary  and  Infant. 


For  description,  see  page  643, 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  94 


Brass  Icons  of  the  Russian  Church 


For  description  see  page  644. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  95 


Brass  Tetraptych  of  the  Russian  Church. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  96 


Paraphernalia  of  the  Armenian  Church. 


For  description  see  page  647. 


U.  S.  NATIONAL  MUSEUM 


PROCEEDINGS,  VOL.  55  PL.  97 


Musical  Instruments  of  the  Armenian  Church. 


For  description  see  page  647, 


